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.
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.
The new print issue of PARIS LA—a tenth-anniversary special devoted to fashion and writing—is now available.
PARIS LA 16 includes interviews with Hilton Als, Chris Kraus, Ines Kaag and Desiree Heiss of Bless, Tisa Bryant, Florence Müller, Malik Gaines, Q.M. Zhang, Commesdes Garçons’ Adrian Joffe, Anelise Chen, and Bice Curiger and Jacqueline Burckhardt of Parkett.
Massimiliano Mocchia di Coggiola contributed an essay with artwork on dandyism, Ramon Hungerbühler and Fabian Marti talk about skate brands, there are pieces on Setsuko Klossowska de Rola, and Pierre Davis and No Sesso, Anne Dressen has written about contemporary jewelry…
… and portfolios and portraits by Cédric Rivrain, Cassi Namoda, David Benjamin Sherry, Wyatt Kahn, Tobias Madison, Item Idem, Jean-François Lepage, Todd Cole, Marie Angeletti, Will Benedict, and Katerina Jebb—who created the Michèle Lamy cover and a poster of Marisa Berenson—grace the issue.
Also: a reprint of Iris Marion Young’s landmark essay “Women Recovering Our Clothes.”