It’s only the beginning of fashion week in Paris and already, it is action packed. There is a reason why it is saved (as the best) for last. With the designer shake-ups, there was a lot to be expected.

An example of such is Anthony Vaccarello at Saint Laurent. He began the show with a modernized (done in leather with a shorter hem length) version of a YSL dress from 1982. From then on, he worked his Vaccarello codes into the Saint Laurent legacy: iterations of skinny le smoking, pelmet skirts, boyfriend jeans, and draped gold lamé, elevated by stilettos with logoed heels. It may have come of as cautious, but he was completely himself.


Olivier Theyskens made his return to Paris with an eponymous show that touched on all his accumulated experiences at Theory, Rochas, and Nina Ricci: hook-and-eye closures on leather dresses, well-tailored suits, and fabulous corseted ball gowns. The restraint he exhibited hinted at his maturity.


Bouchra Jarrar debuted her first collection for Lanvin. There is such a thing as a woman’s touch. Not that Lanvin’s former creative director, Alber Elbaz, was heavy handed, she just had a lighter touch. Embellishments and decoration were minimally done. Draping seemed easy. Tailoring was sharp, but never aggressive. Transparency was ethereal, even in black and vivid blue. It was a charming start.


The straw hats already gave off the peasant-inspired folkloric vibe at the Jacquemus show, with an injection of a melancholic romance. Exaggeration was the order of the day: Vetements-style shoulders, deconstruction, and buttons were all larger than life. The mostly micro hemline brought it into modern territory.


Sébastien Meyer and Arnaud Vaillant are three seasons in at the space age-y house of Courrèges. Not much has changed, only that they keep modernizing the house codes. There was a balenciaga-by-ghesquière vibe about the clothes: short pod-like dresses of the couture variety, scuba suits with athletic arabesques of white piping, and 3-D printed tops.


Eccentricity is still the order of the day at John Galliano’s Maison Margiela, but for spring, it comes with a street vibe. Askew deconstruction, unexpected combinations, and unconventional silhouettes. A true Galliano/Margiela recipe.


The cubes of frozen flowers that decorated the runway weren’t the only attraction at the Dries Van Noten show, but the clothes were too. He still mixes humble materials with decadent fabrics. Also, Van Noten is the only designer that can make a finale of black clothes very poetic. 


Glenn Martens of Y/Project showcased clothes that the street style set will readily embrace. There were jeans with snaps that buttoned themselves, denim knickers with matching chaps, calf hair suits and corsets, and frocks with off-shoulder straps that spiraled across the bust or down the sleeves. It was a lot to take in, but in reality, those clothes could actually work.


Finally, Australian designer Toni Maticevski hopped on the bandwagon trend of volume. His came with the complexities of pin-tucking, ruching, and complicated asymmetry.


Images Via VogueRunway.

Author: Kayito Nwokedi