Once again, Naomi Campbell stole the show at Paris Fashion Week. The 51-year-old runway veteran walked the scenes of Lanvin’s floral-themed collection on Sunday amid screams from guests in a dramatic black cape. Meanwhile, on Sunday evening, insiders traveled west of Paris to attend Givenchy’s Back to the Future performance by Matthew Williams. Then came the historic touches necessary for the heritage-conscious brand, the oldest unbroken fashion house in the world. But it was when the vibrant flowers appeared that the real fun came out.
The first flower on the runway was in the form of an oversized bracelet, then, in print form, blooming in yellow, on a funky short suit. A puffy black and yellow floral print was omnipresent . This gave the spring reflection a more decisive and urban touch. The flowers of a trendy bikini offered an elegant burst of color under a vanilla jacket. One pastel gray gown had so many blue flower appliqués that they actually spilled over, crosspollinating onto the model’s bare chest as stickon brooches.
It still feels, however, as if there is some way to go before anyone can fill the shoes of longtime Lanvin designer and icon Alber Elbaz, who died last year. Givenchy’s Anachronism Williams was on splendid form Sunday, putting a fashion forward twist on historical clothing. Guests sat around a futuristic, white oval runway to watch the looks, which were filmed live by a menacing black robot on wheels that followed models around.
Anachronism was everywhere in this 70piece show, which frothed with the frills and flounce of yesteryear.Skintight black pants morphed into platform sneakers to evoke an 18th century legging, while the chunky footwear sported an arched sole in the spirit of old fashioned clogs.Corset silhouettes perfectly captured this season’s mania with the bikinistyle, while crisp collars felt part Elizabethan ruff, part space age.There were some fun contradictions.Yet these historic plays never felt like parody.Perhaps it is the minimalist touches or the dominance of black in the designs that have made the collection always contemporary it was symbolic.
It was on the square that the Universal Declaration of Human Rights was first adopted in 1948. And this event was L’Oréal’s big comeback to Paris Fashion Week with a show against the harassment of street and in favor of the emancipation of women. in its three previous seasons, the house has put on a glitzy spectacle with stars like actress Helen Mirren and “Game of Thrones” actor Nikolaj Coster Waldau. It was open to the public and broadcast in over 30 countries. While the cosmetics giant takes care of makeup and staging, fashion is left to professional stylists: behind the sparkling looks were Balmain, Elie Saab, Mugler and Issey Miyake, as well as a selection of rising houses. like Koché and Ester Manas. L’Oréal is the message with equality. But this has not always been the case.
In 2020, transgender model and actress Munroe Bergdorf jumped on L’Oréal’s #BlackoutTuesday posts to accuse the beauty brand of hypocrisy for firing her three years ago when she complained of racism in strong language. 2017 for speaking out against “white racial violence”, she then accepted a consultancy position on the U.Diversity and Inclusion advisory board to help “influence and inform the brand”ingredients for Paul Smith. For spring, the British fashion icon returned to the decade of optimism: the glorious 90s. He created a live show that looked fresh and young, although bringing back that era as a vintage benchmark was aging some fashionistas! silk bandanas, puffed check shirts and coffee jackets with round shoulders and flared pants evoked the era of Brit Pop.
However, other items of clothing became artistic, such as a sweater and pants with yellow geometric squares that evoked the painter Piet Mondrian.
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