Author Archives: Dorothée Perret


It’s almost midnight in Paris. HEDI SLIMANE for Celine lights the place with a spring 2019  collection greeted by two drums from the Republican Guard. But this solemn introduction felt more like a counter-artifact to better unveil a spirit of true adolescent adulthood.

This inaugural collection coming out of a giant music box in mirror, on an original sound piece by La Femme, was certainly the most awaited of the week by professionals and fans alike. And SLIMANE—evenly, steadily—did not upset the rule, and offered to Celine its first letters of nobility in couture.

His strength is like that of any master, a capacity to wind up and unfold time at once. His classy wardrobe travels with alluring beauty from the sixties era of swinging London to the disco couture of the eighties. Nothing felt old in this collection—everything is up-to-date. These are the common themes SLIMANE has always cherished, and stated in the early 2000s when he created his famous androgynous silhouette, also known to be extremely skinny.

Men and women here today were equally celebrated in an ode to gender fluidity.

SLIMANE is a true showman who knows how to design clothes in the best classical and formal way, and last night he once again confirmed to the world of fashion his immeasurable talent.

All images © 2018 Hedi Slimane for Celine.


It’s apparently the last show of Rick Owens to take place at his faithful location of Palais de Tokyo in Paris. It’s also certainly one of his most accomplished in terms of deconstruction and superposition in his work. Nestled in the outdoor courtyard during twenty minutes of “Take My Hand”—a remix by the Russian industrial band Ic3peak—Owen’s wardrobe displays a large spectrum of species like in the myth of the tower of Babel.

The spring 2019 collection started with the figure of insects—dark flies and beetles approaching from afar, wings turned in the wind, antennas out to reach the open sky. This rich and surprising performance ended with a large bonfire, as a call to celebrate all women, from the sacrificed witches to the holy sisters.

There were a lot going on with the clothes, too, with a multitude of layers and proportions. Added on to the scene was an explosion of materials with black rubber burst into parkas, dirty denim, and flags—mixed with pearl, glitter, and shredded lace—transforming the silhouette into dystopian semitransparent goddesses in tunics and gowns.

Rick Owens is himself a precious species, a designer who makes no compromise with his vision and design. He is assertive, strong, and most of all free and independent. Yet with a large crowd of acolytes follow his impressive fashion.

Images © 2018 Rick Owens.


The Chloé show—which took place at the Maison de la Radio, steps away from the Seine—staged a carefree ethos where attention to detail—particularly that of the jewelry—remains at play.
The spring 2019 silhouette—smooth, light, and longilineal—plunges into a journey of celestial daydreams where the earth is lousy with seashells, and water filters the sun. The place is anywhere the holidays hook up: Ibiza, Morocco, all west coasts, Mexico, even Paris… This feeling of everlasting departure is emphasized by the use of scarf silks, plissé mousselines, cool linen, techniques like ikat, and jacquard to pattern them.
With this collection, Natacha Ramsay-Levi carries on the steady road of sisterhood, where feminine virtues embrace at once pride and prejudice.


During an Indian summer afternoon in Paris that carried a fresh, crisp undercurrent, Dries Van Noten presented his summer 2019 collection in a splash of natural light under the grand canopy of Palais de Tokyo.

Optic white silhouettes of ladybirds with real feather hairdos revealed a gangling waist heighten by a squarish padded shoulder—yet the whole hangs together with relaxed looseness. Diagonal graphic stripes and photographic patterns and rays of bright neon colors completed a tableau which carried a minimal approach to formal design with a play of structured drapes and cuts.

There is also a palpable tension with the use of materials that combine foregrounded compositions of plastic and paper, silk with hand-made pieces of embroidery, and original paintings on garments. This full and honest confusion of feelings was accompanied by the heartbeats of the remix “Moan” by the Danish electronic multi-instrumentalist Trentemøller.

Van Noten’s next realm manages to render beauty and sophisticated finesse with reminiscences of post-futuristic broken romanticism, a place where nature and machine would finally find grace and gravity in chaos and harmony.

Images © 2018 Dries Van Noten.




On the cover Ash B., 2016 © Wolfgang Tillmans
Comes with a flexi disc by D.A. Spunt

112-page color
English edition


I don’t write music. We never did. Sonic Youth never did. Our writing is sitting around and playing, and reforming it. — Kim Gordon

In America we have this history where we forgive the oppressor and vilify the outsider. — Taylor Mac

I mean, I see the life politic, the life that we live all together as people, is the sum of what people throw into their world. — Wolfgang Tillmans

The last twelve months have seen Wolfgang Tillmans’ return to music after a nearly thirty-year absence, Taylor Mac’s one-time-only 24-hour concert performance, and the first release of Kim Gordon’s music under her own name.

PARISLA 15—an issue devoted to music—brings together conversations with these artists, as well as interviews with Carrie Brownstein (with Kim Gordon), Josh Da Costa and Matt Fishbeck about Solid Rain, Pulitzer Prize-winning Caroline Shaw, art and music entrepreneur Aaron Bandaroff on Know Wave, and Chloé Maratta and Flannery Silva of Odwalla88 (joined by Dean Spunt of No Age).

Issue 15 also features a conversation between LA-based curators Sohrab Mohebbi and Aram Moshayedi, and writer Gaye Theresa Johnson about her first book Spaces of Conflict, Sounds of Solidarity: Music, Race, and Spatial Entitlement in Los Angeles, essays on Lady Tigra and on Black Sabbath’s final tour by Noah LyonYelli Yelli in her own words, a piece by associate editor Evan Moffitt on Berlin and Bowie, an excerpt from The Standard Book of Color by Andrew Berardini, and a report from Standing Rock by Oscar Tuazon.