PARIS (AP) – Dior took over the iconic Place de la Concorde in Paris for a menswear show on Friday whose theme was none other than the city of Paris itself.
Inside an outbuilding, editors joined a front row, including Naomi Campbell, to admire the historic home’s spectacular décor. He created a life-sized Parisian bridge, filled with fake birds and fake water lapping underneath via a plasma screen, just for the 15-minute collection.
Here are some highlights from the Fall-Winter 2022 men’s fashion shows.
THE CITY OF DIOR LIGHT
Paris Fashion Week is back from her virus-induced sleep. At least that was what some front-row fashion editors said after seeing Dior’s elaborate reconstruction of the Pont Alexandre III bridge, with its giant three-dimensional gilt bronze statues of horses and nymphs holding up the staff under which the models had to hide. Million dollar sets like this haven’t been seen in seasons.
In pastel shades that reflected a winter morning, the models meandered around the Parisian view, past the iconic image of the Pont Neuf bridge and the Musee d’Orsay, while a recording by house founder Christian Dior on the meaning of fashion echoed in the hall.
In terms of fashion, the beret – the archetype of the Gallic symbol – is back in vogue for fall winter for British designer Kim Jones. This normally inert Parisian staple has been reinvented in a structured form, evoking Jones’s native London Saville Row tailoring. It was one of many instances where Dior’s Parisian styles have a clever British twist.
75 years since Dior’s “New Look” changed the face of fashion in 1947, Jones said he delved into the archive to work on the house’s original styles like the Bar Jacket that curves at the waist. Here for men, the Bar silhouette has received a very British makeover, tailored but intentionally built scruffy and loose with motifs like the Glen plaid. Such bespoke styles have never been buttoned up but imbued with a street vibe: gray sneakers with messy laces or white pants with elasticated hems.
LUCIEN IN PARIS
One of the stars of the TV hit “Emily in Paris,” British actor Lucien Laviscount said he felt like he was “dripping in Dior” – dressed as Jones to attend the house’s menswear show on the Place de la Concorde.
Fresh off the success of his Season 2 love interest role, British banker Alfie, Laviscount said visiting Paris for Fashion Week meant “my feet haven’t touched the ground. This is my second time in Paris. I feel honored and honored to come back ”.
At a loss for words as he looked at the decor of the iconic Parisian bridges, and almost as excited as the reporters interviewing him, all he could say was “wow … this is Lucien in Paris!”
As to whether the Yorkshire-born actor will return for a third season, that remains a tantalizing mystery. “I’m coming back? … We are in talks, “he said.
THE ART OF INVITATION
The e-mail era and growing environmental awareness don’t seem to have left a mark on the fashion industry’s antiquated invitation system. Season after season, overflowing gasoline couriers crisscross Paris to personally deliver invitations to ever-elaborate, often hand-made shows.
The best houses vie for the most extravagant or imaginative idea that often brings a clue to the theme of their collection on the runway.
Details from Jil Sander’s show were printed on a huge white balloon hidden inside a box while Loewe’s invitation, a three-meter pink silk satin ribbon, unfolded dramatically from a small metal cylinder. .
Yet Louis Vuitton’s was perhaps the most imaginative of the men’s season: two multicolored toy spikes on a pole with the house monogram from top to bottom. It symbolized the childhood obsessions of the late designer Virgil Abloh, who died in November.
THE CINEMATOGRAPHIC FASHION OF PAUL SMITH
At the heart of the fashion icon’s fall-winter exhibition was the evolution of cinema, from the era of black and white to technicolor to ending with contemporary cinema.
The reflection on the film was a stepping stone for the 75-year-old British designer who has built a reputation for his bold use of color, including his neon pink flagship store in Los Angeles.
Monochromatic nickel lent a gorgeous sheen to a loose-fitting double-breasted coat, evoking the era of pre-war cinema. Sepia, the reddish brown hue associated with monochromatic images of early cinema, was evoked in large printed corduroy and an emerald green leather jacket evoked the beginning of technicolor.
However, the cinema theme seemed a little lost in many of the other projects shown on Friday.