Love! Rick Owens SS24

Rick Owens still believes in love. “Considering joy a moral obligation, I propose a stark elegance,” Rick Owens wrote of his highly romantic collection veiled in fuchsia and yellow smoke bombs and rose petals shot out of canons across the courtyard of Palais de Tokyo. “I use it because I’m determined to find joy in life. Because moping around is lazy,” Owens said after the phenomenal show, referring to his use of the word in the show notes. Isn’t his moping around part of the reason we love him? “I know, and I’m good at it. That’s my superpower. But I can’t be lazy and just fall into it. You can’t be passive. You have to be a top,” he smiled. It generated a show that felt like a melancholy march for joy. Models with funeral veils wore narrow floor-length skirts elevated on platform boots, embroidered evening dresses that looked as if they’d been bandaged, and voluminous jumpsuits styled with majestic capes. A palette of black and delicate grey faded into lilacs, passionate reds and golden cognac. For years, Owens conveyed in his work a deep sadness for cultures and environments in decline. Now, he’s being more constructive. “Well, that’s why I talk about hope so much. I allow myself to think about hope because in the history of the world there have always been evil forces, but somehow the good forces have always managed to barely overpower. Because we’re still here. We managed. So, you just have to have faith in the force of goodness.” Don’t think the Rick Owens show was all rose petal confetti, though. “Everything dies,” he said, concluding his pep talk for hope. “Things do get destroyed and something else happens. Everything dies. We always forget that. We’re always trying to be immortal and have things last forever. ‘Oh, they’re [bringing] down this building and it’s a historical monument.’ Well, everything dies. And things replace it. So, that’s my hope-slash-doom message,” Owens smiled. As the underpinning of one of the designer’s most moving and ravishing collections probably ever, it was an empowering one.

Collage by Edward Kanarecki.
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Allina, The Idol. All-In SS24

This very solemn and somewhat regal Paris Fashion Week, some much-needed sass and fun was delivered by All-In. Benjamin Barron and Bror August Vestbø, the design duo behind this brand, have a habit of building their collections around imaginary characters. This season we met Allina. She might be the last real pop star (sorry, The Idol‘s Jocelyn, that’s not you), a slim, blonde diva who leans into an air-brushed kind of glamour. The collection features Allina’s merch, like a very mini tube dress featuring an image of the pop sensation. As Barron explained, the garments related a tale “about Allina’s fall from fame, so it starts off with her as the ideal form of herself, but then things start to unravel as she ages.” The sense of things coming apart was conveyed by a black sequin décolleté and backless minidress with diamanté trim that used negative space to dramatic effect. It looked as if it had been cut away from the top of the thigh to below the knee; a piece of fabric hanging from the back of the skirt connected the top half of the look to the bottom. Allina’s “attachment” issues were illustrated by the looks that had hangers attached, from which hung vintage slips that were more granny than glam, to chart the diva’s aging and fall from fame. Said Vestbø: “We used a lot of mixed materials that felt a bit pop star Las Vegas, like crystals and sparkles and short skirts with these kind of old woman references, like the tin cans or long nightgowns. There’s also a powder puff.” These assemblages also played with the concept of putting up a facade, which was also addressed in a more immediately relatable way in the sweater dress worn by Delfine Bafort. The hem had been extended and only the front was attached to the body of the sweater, which was worn on top of the body. It was suspended by ropes of pearls at the neck, leaving it backless, and the model’s hands slipped through the cuffs, creating a batwing effect. The result was a sort of paper-doll flatness that was very intriguing. Up until this point, All-In’s practice has had Surrealist touches and collage. Helping to ground All-In a bit as it prepares for growth, Lotta Volkova, who has modeled for the brand, worked with Barron and Vestbø on the creation and styling of this campy, bitter-sweet collection.

Collage by Edward Kanarecki.
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Tender & Strong. Rabanne SS24

At Rabanne (no longer Paco), Julien Dossena had a mesmerizing collection featuring nomadic warrior women in chainmail armours (occasionally weaved with peacock feathers) and gilded textures. “I’ve never been that interested in the bourgeoisie,” the designer quipped backstage. “I can play on the codes but it’s about exploration for me.” Going by the pictures Jean Clemmer shot for Paco Rabanne in the 1970s, Dossena imagined a kind of warrior beach woman whose wardrobe was founded in ancient constructions. “It’s a woman by the sea, black and white, in the sun with a little loincloth and a jewel. It’s an exalting sensuality. It was a strength I wanted to work on,” he explained. As a meta inspiration element, he printed the pictures on tank tops. The look materialised in hooded mini chainmail dresses, sarouel trousers – “the original first clothes we ever wore: a square with two tubes” – and rustic, organic textures Dossena attributed to the work of the artist Sheila Hicks. “Like a carpet you’ve made a dress [out] of,” as he put it. “I wanted everything to be handcrafted: the feeling that someone touches it; sensual; destroying the fabric; threads.” It made for an ancient sensibility that felt kind of sci-fi. Dossena’s time-travelling looks gave off everything from Athena to Amazon to gladiator to Joan of Arc. “Tender and strong,” he said. “It’s a kind of community: a tribe, a gang of women who express their own sensibility and sensuality.”

Collage by Edward Kanarecki.
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Power-Sensuality. Chloé SS24

For her finale collection for Chloé, Gabriela Hearst at last showed her sexier side of the Parisian maison. Maybe if she indulged a bit more in these smooth leathers and shorter lengths, she would thrive at the brand? The spring-sumer 2024 collection didn’t reinvent Parisian chic, but it had some much-needed sensuality that lacked throughout Hearst’s tenure. But it seemed the New York-based designer wasn’t in a sorrowful mood, as the show’s ambience was lively and bright, set outside against the Seine on a warm, sunny Parisian afternoon. Hearst leaves behind a legacy of championing socially responsible designs, and her last collection continues that theme. Per the press release, consciousness is the fourth and final ingredient to achieving climate success, which continues the ideas on clean energy, regeneration and female leadership that the designer set forth in her prior collections. For Hearst, this is best symbolized by the flower and that motif was evident from the opening look, a ruffled one shoulder dress that looked like layers of petals. Other dresses reinforced the idea, with gauzy rosette swirls adorning the hips or jutting shoulders that featured undersides stuffed with blooms. For her final look, Hearst opted for a black and white leather dress, a rather serious note given that the runway shortly segued into an all out dance party, featuring a samba band. As the models danced, it seemed that while this chapter at Chloé may have ended, Hearst was leaving it with plenty of joy.

Collage by Edward Kanarecki.
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Extremes. Schiaparelli SS24

When you design to provoke, you must also take yourself less seriously: that’s Daniel Roseberry’s ethos for spring-summer 2024. His latest Schiaparelli collection is all about extremes. Extreme chic and extreme humor. The starting point for the Texas-born designer was one of Elsa Schiaparelli’s first successes: a sweater knit with a trompe l’œil collar and bow. Thus his desire to “make the everyday come to more vivid, more surprising life” gave birth to white shirts, suits and smoking jackets – classic silhouettes reimagined with Schiaparelli spice. A simple-seeming ribbed dress bore illusion breasts, and shimmered in a metallic pewter knit. Another ensemble was a play on an emerging formula: a boxy blazer, low-rise trousers, and the flash of a boxer over the waistband. Roseberry served his interpretation in elevated fabrics, embellished with gold bijoux: a sandy short jacket over white boxers and cowboy-style denim. But the most delightful looks were those that unleashed Schiaparelli’s menagerie from the archives, where the most amusing of animal neighbors reside. The lobster, protagonist of Schiaparelli’s famous 1937 dinner dress, clung in ceramic from chain necklaces; so too did crabs and fish skeletons dangle over leather bodysuits and jersey sheaths. A halterneck dress, Roseberry’s signature look, featured the spoils of another creature: the contents of a woman’s bag, spilled over ecru cotton. 

Collage by Edward Kanarecki.
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