Paris Fashion Week 2017 Eiffel Tower
The Top ten Moments of Paris Mode Week
Ii Designers Fabricated a Splash in Paris
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Gifts are often left on front end row seats at fashion shows for guests. Rarely, however, are they placed on every seat. And they are never blackness hooded plastic pelting ponchos, with the name of a designer across the dorsum.
Such was the case at Rick Owens on Thursday evening. For his eerie, h2o-soaked bear witness at the Palais du Tokyo, overlooking the banks of the Seine, models dressed in foreign silhouettes that resembled alien cocoons and took a trip through fountain mists. The seated audience, bedecked in their ponchos, looked like they were taking a unlike kind of ride: a high fashion log flume, perhaps, equally they were showered from on high.
V days later, within the Yard Palais, the elements emerged once again, this time at Chanel. Karl Lagerfeld had commissioned a giant replica of the Verdon Gorge in the due south of France, which took two months to construct and had vi waterfalls, all rushing into a gully below the catwalk. The aquatic theme so continued with the collection, a playful 89-look procession of vinyl rain gear. Merely fifty-fifty imported Female parent Nature can have her unpredictable mode; half a dozen hats were blown off models' heads by the sheer force of the cascades. Nevertheless, waterproofing has rarely looked so chic. — ELIZABETH PATON, European correspondent, Styles
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Saint Laurent Had the Venue to End All Venues
A brand's power and success can often be revealed in its choice of space, and Saint Laurent was a case in point. The French brand, now designed by Anthony Vaccarello, opened upwardly Paris Fashion Week in the most beautiful identify imaginable: at the foot of the Eiffel Tower. Showgoers saturday on a set at the base of the Trocadero, and equally models emerged, the Eiffel Tower glittered equally if on cue. With such an impressive backdrop, the fashion needed to be powerful, and it was. For the show's finale, couture-like feather and leather gowns came down the runway, 1 more beautiful than the next. — MALINA JOSEPH GILCHRIST, mode managing director, women's, T magazine
A Model's Progress
In a season in which casting directors appeared at last to be inching toward diversity and inclusivity on the runway — with leaps and premises still to become — I was nearly struck by the omnipresence of the beautiful redhead Teddy Quinlivan. She's been a familiar face up for several seasons, merely during this one, midway during New York Manner Week, she came out equally transgender. And in a rare cheering moment, the reaction was start celebratory (it was a dauntless revelation) and and then resolutely normal.
And so she resumed her career without incident and swept the shows in Paris — Dior, Dries, Margiela, Chloé, Paco Rabanne, Haider Ackermann, Sacai, Miu Miu, Louis Vuitton — non every bit a token or an example, just some other woman with a bang-up expect and sixth sense almost how to mow down a catwalk. Sometimes, progress comes with a shout. Other times, no less worthy, with a shrug. — MATTHEW SCHNEIER, deputy way critic and reporter, Styles
There Were Some Specially Special Sites
Ane of the characteristics of shows in Paris is the manner they exploit (and reveal) fashion'due south relationship to the metropolis. Designers here don't opt for soulless white boxes only instead race to outdo each other in access to the coolest, rarest, most insider venues. This season, there were shows in the Invalides (Napoleon's Tomb), the Louvre, the Musée Picasso, the Musée Rodin and the gilt environs of City Hall (to name a few). It was similar Fodor's, but with better wearing apparel.
Even in such vaunted visitor, however, two spaces stood out, in part because they aren't included in whatever tourist handbook. The get-go was the Palais de Justice, the circuitous that houses the French equivalent of the supreme courtroom, where Clare Waight Keller'south debut for Givenchy was held; the second the Russian embassy, where Comme des Garçons unveiled its drove. Neither institution had always hosted a manner show before, and then it was everyone's beginning time. — VANESSA FRIEDMAN, fashion director, Styles
Thom Browne Brought Us a Unicorn
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It takes a lot to brand the jaded fashion crowd become all wide-eyed and wobbly. But for his first women's show in Paris, Thom Browne managed to do just that. First he dreamed upwards a — well, dream scenario, involving two young girls bedding downwards for the night. And then he threw in two space-suited Michelin (wo)men dancing down the aisles. Then he produced a drove of extraordinary technical achievement that featured adulterate silhouettes in traditional American fabrics (seersucker, tartan) woven most entirely from tulle. And then he finished upwards with a Chinese dragon/unicorn that wobbled out behind its fairy godmother like a childhood fantasy come to life. Which, Mr. Browne said, pretty much described what fashion meant to him. At which point everyone was ready to wish upon a star. — V.F.
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The Tech Lab Made Us Recall About the Time to come of Fashion
What will the futurity of fashion await like? On Monday evening many in the industry gathered at the headquarters of Google on the Rue de Londres to discover out.
In theory, they turned out to support Miroslava Duma at the official opening party for Fashion Tech Lab, her incubator, investment fund and philanthropic system targeting new technologies. In do, on the penultimate night of Paris Style Calendar week, they also came to drink Champagne.
"This industry is waking upwards to the fact it can't ignore innovation in the field anymore," said Ms. Duma, surrounded by friends like Stella McCartney, Demna Gvasalia, Antoine Arnault and Maria Grazia Chiuri. "More and more brands have at present realized that they need to comprehend innovation, peculiarly when it comes to sustainability. The future is coming, whether we similar information technology or not."
To show her point, a serial of installations were on prove for guests to meet what could come next. Threads made from spider silk, upcycled yarn, stem-cell-engineered leather and diamonds sourced from higher up the ground elicited both curiosity and Instagram posts, equally did a robotic barman, pouring mojitos ordered via tablets, much to the excitement of the oversupply. — East.P.
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A Dearest New York Designer Returned
Among all the big shows of the week, it'south is the modest ones that sometimes accept the most impact. Such was the instance with the render of Andre Walker to Paris Way Calendar week. The veteran New York designer staged a presentation on the stairs of Les Arts Decoratifs, where he showed a collection of vesture he originally designed between 1982 and 1986. The patterns were reconstituted from the original patterns, and three decades later seemed surprisingly au courant. There were coating jackets (a collaboration with Pendleton) with beautiful cut sleeves, wrap skirts and dresses with folds. The mix of men's and women's looks signaled not only where Mr. Walker is coming from, simply also where he's going. — G.J.G.
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A Different Kind of Fake News
The vertigo you go snapping between the actual world and the fashion world during the monthlong sabbatical from reality known fashion month tin can be intense. A terror attack in London, destruction in Mexico, Puerto Rico and Texas, hurricanes and flooding, a mass shooting in Las Vegas — meanwhile, frocks.
But the news creeps in, even to fashion. At Balenciaga, Demna Gvasalia worked up newspaper prints. They've been effectually in fashion before — remember John Galliano's famous newsprint dress for Dior? — but Mr. Gvasalia scrambled the script, filling his column inches with gibberish dummy copy and photos just of happy people. "I wanted happy news," he said backstage. It's a pipe dream: fake news. Only nevertheless, you could dare to dream, if only for a minute. — M.Southward.
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Undercover Brought Out Many, Many Twins
The Undercover designer Jun Takahashi is one of the great showman working in fashion. Staged at the 19th-century Le Grand Hotel in Paris, his testify began with pairs of models who walked side by side, paw in paw under a spotlight.
Each couple wore looks that spoke to each another in some way: ii identically cut Five-neck shifts, 1 in T-shirt fabric printed with Cindy Sherman's confront, and the other fabricated from scarlet red silk covered in embroidered sequin cats. Others wore voluminous short-sleeve track suits; matching brooches in monogram-manner letters; and what were made to look similar pearl earrings, but dramatically oversize and partially crushed, resembling dented Ping-Pong balls.
Mr. Takahashi created 32 looks like these before closing the show with five sets of existent identical twins, dressed in matching blue and white Peter Pan dresses inspired by the Grady twins in the 1980 horror film "The Shining." The complexity of finding, and casting, and then many pairs of twin sisters was a serious feat, echoing one of Mr. Takahashi'due south collections from over a decade before, for spring 2004, in which he also sent identical twins down the catwalk. — Alexa Brazilian, fashion features manager, T magazine
Moncler Cheered Everyone Upward Instantly
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At the terminate of more than than 3 weeks of fashion shows in different cities, the concluding day of Paris Fashion Week often brings with it a bunch of tired, overstimulated manner editors waiting for sundown. Yet, at Moncler Gamme Rouge, weary faces brightened with smiles as Ed Sheeran's "Shape of You" began to play, spotlights made giant disco balls glimmer, and a troupe of American "hiplet" ballerinas emerged in a conga line dancing to the beat en pointe.
The dance company was formed by the 66-year-old Chicago choreographer Homer Hans Bryant, whose fusion of traditional ballet and hip-hop has sent the internet aflutter. The girls performed in vignettes peppered throughout the regular run of show, for which the designer Giambattista Valli clad models in cozy heather gray "Flashdance"-style leg warmers, diaphanous white lace dresses and ruby-red, white and bluish iterations of the French brand'southward signature puffer. For the finale, the dancers high-stepped their way off the stage to the sounds of the Florida duo Black Violin, who, fittingly, mix hip-hop with classical violin and viola. — A.B.
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