Among the brands that opted for a digital format, the one directed by Anderson stands out.
“I have many friends who have been seriously affected by the covid.
We cannot be donating money to healthcare and, at the same time, be part of the problem.
If a firm like Supreme has managed to be at the level it is without doing fashion shows, I think it's okay for us to skip one ”, explained the designer by videoconference.
But not even the most powerful zoom is capable of transferring the richness that the details of your collection hide.
A proposal where the play of volumes articulates delicious garments that, through the embroidered lace, the leather braiding or the architectural pleats, constitute an exhibition “of the Spanish artisan tradition”. They did not pollute the conversation, beyond the encouraging resurgence of the market Asian and the level of some proposals conceived during the confinement, which had in Loewe and Paco Rabanne their best representatives.
Among the brands that opted for a digital format, the one directed by Anderson stands out.
“I have many friends who have been seriously affected by Covid.
We cannot be donating money to healthcare and, at the same time, be part of the problem.
If a firm like Supreme has managed to be at the level it is without doing fashion shows, I think it's okay for us to skip one ”, explained the designer by videoconference.
But not even the most powerful Zoom is capable of transferring the richness that the details of your collection hide.
A proposal where the play of volumes articulates delicious garments that, through the embroidered lace, the leather braiding or the architectural pleats, constitute an exhibition “of the Spanish artisan tradition”.
Hermès also wanted to underline its centenary legacy and launch - as its creative director, Nadège Vanhee-Cybulski explained - “a message of optimism, calm and beauty”, translated on the catwalk into perfectly cut men's shirts;
T-shirts low-cut at the back;
and dresses with simple lines and complex finishes.
Impossible to look away from the clogs designed by Pierre Hardy, which, this time, were moving live in front of a hundred long guests.
“We parade because we can do it and to show that Paris is a city full of creativity.
Not only do we do it for ourselves, but for the entire fashion community, which needs physical events within this date, ”argued Vanhee-Cybulski.
A. c.
(before the Coronavirus), the French fashion week left 1,200 million euros in benefits in Paris between hotel nights, trips, dinners and purchases, according to a report by the Trade Union Chamber of Fashion, the institution that organizes it.
As an economic engine and tourist attraction, the footbridge is, by extension, a source of employment.
Keeping the professionals who make his shows possible was one of the reasons that led Julien Dossena to keep the
Paco Rabanne
show
: “It's not just about making money and forgetting about the people of
casting
, production and realization.
It is a moment of celebration, and with all the security measures at our disposal, we want to project an image of strength ”.
Powerful and concise, grunge and baroque, his collection for next summer has been the best signed by the French.
Through it, Dossena achieves something as difficult as updating the legacy of a historic brand;
in this case
mesh
, the metallic mesh made famous by the firm's founder, and which Dossena contrasts with jeans and lingerie dresses.
"Perhaps it is a beauty a little more aggressive and different from what we are used to, but, I think, much more interesting," he explains.
Nor did Chanel, whose show was for years the most spectacular on the catwalk, wanted to give up staging with an audience.
Although on this occasion, it reduced the capacity to a quarter of the usual and, for the second time in its history, it streamed a
show
where Virginie Viard, creative director of the brand, made it clear that her effort to simplify the silhouette of Chanel did not Is a passenger.
The first part was more
sporty
, pop and dotted with fluorine colors, followed by evening dresses, volatile and reminiscent of the twenties.
Daniela Hearst, who defends a classic concept of exclusivity, celebrated her show at the School of Fine Arts with a live performance by Leiva.
The Spanish singer underlined the city's involvement in the event by allowing "such a historical location" to be used.
In Paris, fashion is not an accessory but fundamental and, like the catwalk and the brands it hosts, it faces a paradigm shift, the consequences of which JW Anderson foresees drastic.
"The pandemic is being an accelerator: things that did not finish working are going to disappear now.
And this kind of natural selection will change the fashion system forever. "
Collections beyond the physical format
Demna Gvasalia, Balenciaga's creative director, called off her show a week before the scheduled date and asked her friends, models and usual suspects to take their pictures with her collection, the calmest and most orthodox of recent times. Schiaparelli also decided to resort to a graphic campaign, triggered by its creative director -the Texan Daniel Rasberry- who argues that her faultless tailoring and surreal accessories represent "something unique in a luxury sector where everything is already mass-produced". Even Matthew Williams used a multimedia format to present his first work at the helm of Givenchy: a debut in which echoes of Alexander McQueen and Riccardo Tisci, former creative directors of the house, can be found, and direct references to Helmut Lang's porn chic.