After a mixed season in Milan, Paris Fashion Week, which celebrates its 50th anniversary, delivered on its promises, despite the sector’s economic slowdown. In recent months, luxury has shown signs of weakness, as evidenced by the drop in turnover of several houses. If the industry giants previously posted record profits, showing relative insensitivity to crises, the picture now seems less idyllic. At the center of the concerns is the contraction of the Chinese and US markets, which have largely driven growth over the past decade.
This development suggests changes in strategy. But, at the moment, there is no possibility of taking risks. The formula for this fashion week remains the same: large gatherings, convoys of international stars, trumpet concerts and security barriers at the entrance to the shows filmed by an army of smartphones. It is always about relying on the ultra-visibility of the media to win the battle of the algorithms. The dream machine continues to move the crowds and, despite the challenges facing the industry, the season has been marked by a certain optimism and pleasant surprises.
Monday September 23
Under torrential rain and gusts of wind, Victor Weinsanto inaugurated the festivities, on the terrace of the Center Pompidou, at the Georges restaurant, where his show took place at snack time. Guests leave their soaked seats and gather under the large umbrellas that act as giant umbrellas to watch the passing silhouettes. Improvisation is required and the atmosphere is good humored. This is good, that’s the theme of the Kitchen Nightmare collection, inspired by a form of joyful chaos. The time has come for emerging creators who are the most affected by the slowdown in the sector.
Known for his sense of theatricality, Victor Weinsanto, a 30-year-old Alsatian designer, revealed more commercial clothes than last season (printed mesh jumpsuits, striped tennis coats and suits, embossed tops) without giving up a dose of drama with some pretty grand clothes. haute couture outfits, like this hat that is more than 2 meters wide.
To the west of Paris, a stone’s throw from rue Mallet-Stevens and the houses of La Roche and Jeanneret that Le Corbusier built in the 1920s, the Muette residence is a group of collective housing built on stilts: an architectural jewel of the 50s. is where Julie Kegels met, at 6:30 p.m. On both sides of the central swimming pool of the residence, visible from the street, chairs have been installed and the Antwerp designer’s farewell letter to a Californian summer love is distributed.
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