Paris — As Paris Fashion Week bids farewell to the menswear season, the final day of the show will feature collections from Maison Margiela and Sacai.
But fashion people have no time to rest. Haute couture collections, including the mighty Dior, will be exhibited in the French capital from Monday.
Sunday’s highlights include:
Acclaimed Korean designer Woo Youngmi’s show was so much more than meets the eye.
The current Western obsession with Korean pop culture inspired Madame Wu to examine the changing relationship between South Korea and the West over time.
Digging through history books, she came up with the image of a Korean Pavilion built for the 1900 Paris Exposition. A magnificent building recontextualized in its environment.”
This is the starting point for a thoughtful collection, fusing French and English turn-of-the-century Edwardian styles (riding coats, sack suits, riding boots, etc.) into romantic silhouettes and urban elements such as cargo elements and Wu’s early archive pieces. I took style. 2000’s collection.
She also reinterpreted the jewelery worn by the rulers of Korea’s ancient Silla Kingdom in the form of contemporary and decorative sculpture.
Decompression of SACAI
Transformation was at the heart of the subversive, hipster co-ed Sacai show.
The basic premise was that a small change in one detail could change the overall visual shape. The black sand that covered the entire floor of the Carrau du Temple venue probably meant the sands of time, creating points where the slightest movement of the guests’ feet would change shape.
Japanese designer Chitose Abe used zippers to alter the silhouette, pulling them up and down to drape the body in an abstract way.
The three-dimensional form created by tying the coat behind the display based on black and beige gave a sense of infinite chaos. The lively soundtrack and the way the models walked in interlocking formations, with occasional bumps, heightened the mood.
The trench coat decomposed into its components and fanned out dramatically to form a sort of reptilian hood that hung down its back. The sleeves of the coat were hanging or tied up without any functionality, creating an infinite variety of shapes, and the fashion people were reaching for the camera.
The era of email and growing environmental awareness doesn’t seem to have had much effect on the fashion industry’s outdated invitation system.
Each season, gas-hungry couriers zip back and forth between Paris, personally delivering invariably elaborate and often hand-made show invitations.
Top Maisons compete for the quirkiest and most imaginative ideas that often give clues to the themes of runway collections.
The invitation sent by Issey Miyake before the exhibition of playing with complex shapes was an origami puzzle of origami.
Marine Serré’s is a series of nostalgic keyrings from the 1960s, a mini bottle of vegetable oil and a black chain. Covering it was a handwritten note.
Louis Vuitton’s was an incredible life-size movie set clapboard, inviting guests to the movie show where the set was co-designed by filmmaker Michel Gondry.