PARIS — The conversation around fashion is evolving: are we dressing for life’s experiences or donning outfits that resemble elaborate costumes? The early moments of men’s fashion week in Paris showcased an exciting blend of both ideas.
The events on Monday and Tuesday were dominated by the extravagant showcases from LVMH, a giant in luxury fashion known for intertwining entertainment with commerce in today’s visual-centric marketplace. While product remains crucial, the narratives crafted around them elevate their significance.
Dior’s Jonathan Anderson stands at the forefront of this brand-building ethos. His drive to craft something meaningful rather than merely promote it resonates deeply. Located within the Musée Rodin, Anderson’s sophomore men’s collection departed from last season’s neo-prep aesthetic and leaned into a riotous, almost punk-inspired style, while still respecting the tradition of class that Dior embodies.
“Fashion shows, for me, are opportunities to explore concepts and present strong ideas,” he expressed in a preview. His proposal was striking: ethereal, aristocratic rebels clad in tailored pieces, wearing skirts and field jackets, all enveloped in sumptuous coats reminiscent of Paul Poiret. Unbelievably, Anderson discovered a plaque outside Dior’s headquarters dedicated to Poiret, igniting a connection rich with history.
This collection radiated a certain luxurious chaos, emblematic of Anderson’s creative identity, though the influence of Poiret remained subtle. Intriguingly, echoes of Hedi Slimane lingered in the backdrop, not merely through the skinny silhouettes or the casting of alternative models, but in a renewed exploration of subcultures, bringing a much-needed depth to Dior Homme. This combination of abundant product display and raw creativity illustrated the current landscape of fashion, marked by both potential and challenges within corporate paradigms.
Pharrell Williams thrives in showcasing overwhelming production. Shifting from the ostentation of previous seasons, his Louis Vuitton debut, titled Timeless, embraced a muted color palette synonymous with “quiet luxury.” The garments, designed for everyday wear, featured innovative fabrics that adapt to various conditions. At the heart of his presentation stood a life-sized wooden and glass structure inspired by both Japanese and Californian aesthetics—a thoughtful backdrop that at times felt overly artificial, made colder by the cheerful contrast offered by a gospel choir.
Christophe Lemaire and Sarah-Linh Tran presented a dramatically staged collection titled “Mine Eyes” at the Bastille Opera’s amphitheater. Creating a series of vivid tableaux vivants, they captured an essence of daily life, artfully balancing theatricality with authenticity, effectively showcasing their vision through Roland Topor’s provocative illustrations.
Meanwhile, Auralee’s Ryota Iwai champions an aesthetic anchored in comforting normality. His creations—leather jackets, fluid coats, jeans, and sweaters—may first appear conventional, but upon closer inspection, they reveal delightful intricacies in how they encourage gestures and movement. This season, a vibrant array of colors added an extra layer of charm.
Walter Van Beirendonck remains a beacon of youthful exuberance. Celebrating outsider art coupled with an unfiltered joy, his latest collection embodies whimsy and sincerity, showcasing pieces that stand apart in the fashion realm while remaining accessible for everyday wear.
Ami’s commitment to dynamic yet enduring styles has defined Alexandre Mattiussi’s vision since its inception. He has successfully elevated his designs, melding fashion with functionality. This season, the collection incorporated a hint of grunge but risked echoing Michael Rider’s Celine aesthetic too closely, a miscalculation amid otherwise alluring garments.
Disclosure: LVMH is part of a group of investors who, together, hold a minority interest in The Business of Fashion. All investors have signed shareholders’ documentation guaranteeing BoF’s complete editorial independence.
