Julien Dossena

Rework The Past. Paco Rabanne AW20

| Design & Culture by Ed

Paco Rabanne is the industry’s – and specifically, the buyers’ – current obsession in Paris. And one thing is for sure: Julien Dossena‘s collections aren’t intentionally commercial. But somehow, his ultra-light chain-mail dresses and accessories sell like hot buns. For some time now, Dossena has been exploring ways to extend the 1960s space-age limits that the house of Paco Rabanne is associated with. His own tastes have traveled, to much critical acclaim, toward a look that modernizes a glamour appropriated from the 1970s. But for autumn-winter 2020, there was something deeper and more subversive going on: a placing of the symbolism of spiritual-religious garb – allusions to clerical robes, monklike habits, and Joan of Arc armor – firmly within the female domain. “I don’t want to say that they’re a cult, exactly,” he said. “I’m not a believer at all, but I’m interested in how thinking about something that’s beyond still drives everyone, even in the age of technology.” The show was presented in an underground chamber of the Conciergerie (the place where Marie Antoinette once languished as a prisoner of the French Revolution, before she was hauled off to be guillotined), a perfect location for the mystical, magical procession of mysterious female priests. Hoods and ruffs, capes and slender maxi-coats, voluminous brocade dresses and fragile lace and flower embroideries – it all made so much sense. Dossena has the rare talent of reworking the symbolism and craft of the past in order to take them into the future.

Collage by Edward Kanarecki.

Sweet, Sweet Times. Paco Rabanne SS20

| Design & Culture by Ed

Nostalgia has conquered fashion, and nothing can be done about that. But some designers make it really, really joyous. Paco Rabanne‘s Julien Dossena is a great example. Since his last spring-summer collection for the brand, something finally clicked and the designer finally seems to be feeling more confident with his vision for the brand. Chain-mail dresses aren’t the sole focus. He looks at the Paco Rabanne heritage from another angle. “He was utopian, not dystopian”, Dossen says of Rabanne. The 1960s and 1970s, when Rabanne was the bright new thing, were times of limitless optimism in France and for the enviably stylish and beautiful people who were part of a generational awakening. Julien took 1970s pop and psychedelia under the lense, creating something carefree and fun. “A dreamer and a realist…symbols of naiveté rather than nihilism.” A big red heart was placed in the center of the bodice of the first dress he sent out, and repeated in men’s chain mail top in the finale. “To me, it’s about a kind of strength. Being proud of being nice and kind. It’s something that I value now,” said Dossena. “I don’t know if that makes sense visually, but it’s what I’ve been thinking about.” The puffed-sleeve lamé blouses and the skirts, and the mod pants suits (based on templates pioneered by Françoise Hardy and Prince) were the collection’s major highlights, just as the juicy Guy Bourdin colour palette. A standout piece? The patchworked leather jackets with rising sun and cosmic planet motifs. It’s a delightful line-up, which instantly lands on my ‘season’s favourite’ list. Also, this collection will sell like hot buns, I think.

Collage by Edward Kanarecki.

Overfilled. Paco Rabanne AW19

| Design & Culture by Ed

We’ve all gone crazy for Julien Dossena‘s spring-summer 2019 collection for Paco Rabanne. It just felt so effortless, so beautifully balanced. What happened this season? I guess the designer tried slightly too hard. His latest collection is extremely bourgeoisie, but to an extent where it’s really difficult to trace anything that’s Rabanne or, actually, Dossena. All those rhinestones, florals, zebra prints, bling bling… Julien often repeats that his Paco has to be as modern, as the original was back in the days of the founder. This collection wasn’t modern. It was (simply saying) overfilled with details. For spring, Dossena did the must-have ‘Lose Yourself’ t-shirt in tie-dye, which was styled with a sarong skirt. This time, though, the designer lost himself too much.

Collage by Edward Kanarecki.

Grunge Baroque. Paco Rabanne Pre-Fall 2019

| Design & Culture by Ed

Julien Dossena‘s spring-summer 2019 collection for Paco Rabanne was one of the season’s biggest highlights – which was, to be honest, an absolute surprise. With the designer’s equally good pre-fall 2019 look-book, it’s visible that Rabanne is going up, up and up in the ranks. The collection continues the boheme eclecticism from summer, but feels even more confident. It’s a clash of baroque and grunge – think floral tapestry prints and plaid shirts. It’s like the designer invites both Queen Elizabeth and Courtney Love to the table. Equestrian tailoring goes with checked pants, while tank-tops are worn over chainmail dresses (distinctly Rabanne piece, looking as innovative in 2019 as in the 60s). When you take off the tiara and stay with the daywear, this is a very approachable, chic wardrobe. But then, should we part with the tiara?

Collage by Edward Kanarecki.

Lose Yourself. Paco Rabanne SS19

| Design & Culture by Ed

Julien Dossena and Paco Rabanne are a match made in heaven. The spring-summer 2019 collection is, simply speaking, superb. And, what’s most surprising for a designer who works at such historically distinct brand like Paco Rabanne, the collection wasn’t a literal archive revisit. Dossena focused mainly on Rabanne’s signature chain-mail, but refreshed it completely, so it looked incredibly light and perfect for summer. Similar to Natacha Ramsay-Levi’s Chloé this season, Julien also went for the nomadic theme. Just like her, he didn’t deliver anything overly direct or vague. No boho trends here. Rather think coin necklaces and belts, embellished bras worn under chain-mail dresses and refined sarongs. All that worn in a carefree, not too over-styled manner (Marie Amelie Sauve, love you). It’s bohème, but finally done the good way in 2018. The question is: was Julien travelling somewhere far this summer? The answer is: nope. “I didn’t really get enough time away,” he said, “so I thought more about inner travel—in the mind. About a wardrobe of someone’s souvenirs mixed with her own classics.” Spiritual, diverse, but resonating with a contemporary wearer. The last is something Paco always intended to highlight in his collections.

Collage by Edward Kanarecki.