2023-10-01 22:33:14
Paris shines on the catwalks with unbridled creativity. On the seventh day of this Fashion Week dedicated to women’s ready-to-wear for spring-summer 2023, the designers stood out for their discoveries, each with their own vision. The creative vein was powerful at Y/Project, sought-after but more accessible at Ottolinger, glamorous at Atlein and minimalist at Ann Demeulemeester.
See the Y/Project show, spring-summer 2024 – © Launchmetrics
After a monster show in Milan under the banner of denim designer Diesel, Glenn Martens offers a new show of force in Paris with the collection for his label Y/Project. The Belgian designer pulls out all the stops with a versatile and theatrical wardrobe, full of discoveries and novelties in the construction of clothes and the treatment of materials, particularly concerning prints and dyes. Everything is an excuse to innovate and experiment.
The stylist invited his fans, who came in large numbers, to a building under construction from the 1920s in reinforced concrete and bricks, the former Bergère telephone exchange. A raw decor, which suits this experimental collection perfectly. The show opens with models of enormous hooded raincoats that look like monk’s robes. From the outset, the tone is set with cropped sweaters and t-shirts, which go into a tailspin. Denim skirts opening into asymmetrical slits. Cotton shirts crumpled to the extreme, which ball up in the shape of rosettes on the torso, while fabric crumpled like paper is used to model sumptuous sculptural dresses.
Elsewhere, there are coats and jackets, which seem to split and shift, a completely different satin fabric similar to that of the lining taking over the upper arms, shoulders and neck. This wardrobe combines pretenses, notably via a snap buttoning system, with two-in-one garments, like these fleece shorts placed over checkered boxer shorts, this front of pants buttoned over Bermuda shorts, this cardigan intertwined with a shirt, or this nylon tracksuit glued to a gray jersey model.
The trompe-l’oeil effects also shine through in particular prints. For example, in these white sets with rust streaks, in these denim pieces as if sprayed with color, for a stained, worn and discolored effect, or even these lace printed on jersey dresses. But also through these tight dresses, which seem to reveal the structure of the skeleton as in medical imaging scanners. In the accessories department, Y/Project knows how to make itself more desirable than ever with necklaces in the shape of pythons, larger than life, which wrap dangerously around the throat. They should sell like hotcakes.
See the Ottolinger show, spring-summer 2024 – © Launchmetrics
Energy and a profusion of ideas also emerge from Ottolinger’s show, with nervous silhouettes carried by movement, composed of all kinds of practical, playful and often desirable pieces, easy to match with each other. “There is always a conceptual touch and it’s very deconstructed, but it’s easier to wear, it’s not complicated,” summarizes Cosima Gadient, who founded the brand in 2015 with Christa Bösch.
In just a few years, the small experimental label has grown, attracting the attention of fashionistas and the market, attracting nearly 80 top multi-brands around the world, particularly in the United States and South Korea. His shows are among the most popular of Fashion Week. And Sunday’s show again attracted the crowd.
“This season, we wanted to follow the Ottolinger woman in the arc of her day from morning to evening. The wardrobe changes, but maintains its coherence and the spirit of the brand from start to finish,” explains the stylist. The first looks highlight loose clothing, leggings and little tops, jogging pants, soft and flowing skirts and dresses in cotton and linen knit in a greige palette.
She then moves on to a stronger lexicon in a grunge vein, with denim outfits, where velvet is used for a textured effect, but also with pants, Bermuda shorts and skirts made from khaki and beige canvas from decomposed cargo ships. and reassembled, while gingham shirts covered with brown stains appear as if they were burnt. At sports time, Mademoiselle put on bodysuits and stretch swimsuits with fleece-look skirts obtained by layering various fine knit cardigans. Note the sneaker-boots, the futuristic tight-fitting jumpsuits and the bags made with Puma.
At work, the Ottolinger woman never loses her natural poise. She puts on practical bodysuits with trompe-l’oeil printed jacket and tie or banker suits revisited in mini-skirts, tops and Bermuda shorts or patched with visible seams. In the evening, she opts for a bridal look, all in white, lace, embroidery and crystals.
See the Atlein fashion show, spring-summer 2024 – © ImaxTree
Drapes, transparencies, bare skin, textured effects… Atlein’s collection for next summer once again draws on the glamorous vein, oscillating between Hollywood cinema à la George Cukor from the 1950s, and the cult film of Marcel Carné from the 1950s. 1930, “Hotel du nord” with Arletty. With a proud bearing, hair pulled on the top of her head in a large braid waving down her back, perched on transparent mules, she is a femme fatale who appears on the catwalk, dressed in elegant sheaths and sensual draped dresses.
“Fashion is transforming itself by getting closer and closer to the entertainment industry. We are starting to have a lot of requests from celebrities and private clients, especially in the United States, wishing to dress for an event. It was from this idea that I started to develop the collection”, Antonin Tron tells us backstage.
This season, he is multiplying new textiles with muslin to make transparent bodices. Jersey, his favorite material, is available in zebra jacquards, which look like lace, in fine pleats, or even deerskin effects to cut jackets and blousons. He reveals the woman’s body in small touches, via bare-shoulder tops, slits rising high in the skirts or cutouts on the sides. He also has fun with nervous knots to tighten a skirt on one thigh, tie a dress with a diagonal slit or close a jacket in the back.
See the Ann Demeulemeester show, spring-summer 2024 – © Launchmetrics
At Ann Demeulemeester, the new artistic director Stefano Gallici, who succeeded Ludovic de Saint Sernin who left after one season, paraded for the first time, Saturday evening, in Paris. A show, started a good hour late, near the Porte de la Chapelle, in a railway shed plunged into darkness. The endless catwalk lights up with a faint halo of light as the models pass by.
The young 27-year-old stylist, a graduate in architecture at the Iuav University of Venice, who worked in Haider Ackermann’s studio, joined Claudio Antonioli, the Milanese entrepreneur at the head of the multi-brand Antonioli brand, in 2019, when the latter bought the house of the Belgian designer, where he joined the design team dedicated to menswear, before being promoted to creative direction of all collections.
In this first opus, he picks up the thread with the heritage of the house, updating it. The slender silhouettes line the podium, in a nonchalant elegance in black and white, where an unusual flash of electric blue insinuates itself. We find suit jackets and vests, white shirts and long ribbons twirling around the body down to the ground, typical of the neo-romantic style that made Ann Demeleumeester’s reputation.
The designer works with transparencies, particularly in devoured fabrics, but also with the theme of the leather belt, which multiplies in several copies around a waist, transforms into a bracelet tightened on a forearm, widens in a bustier or leather belt, merges with the ribbons, floating in a thousand strips in a tunic-apron, composes a clutch bag with long fringes. He also practices constructing dresses and pants from old cotton sheets. New, more contemporary elements, such as cargo pants with maxi pockets or crinkled nylon jumpsuits, are being added to the wardrobe.
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