80s. Louis Vuitton AW19

Nicolas Ghesquière‘s autumn-winter 2019 collection for Louis Vuitton was an ode to self-expression, but also, a clear nod to the 1980s. You loved it or hated it. With a faux Centre Pompidou facade built inside of Louvre’s Cour Carrée (yes, one mega-museum of Paris in another), the whole scene was time transporting. Eccentric and eclectic, the jackets had big shoulders, skirts were over-the-knee and prints made you think of the Memphis Group. The leather skullcaps and colourful riding boots are here for a go-kart race. The most convincing looks were the ones near the finale: high-waisted pants, over-sized blazers and leather ties (they made think of Hedi Slimane’s last season debut at Celine, though…). Can’t say this collection is a favourite of mine, but it was a closing statement of Paris fashion week: the past is today’s fashion favourite sandpit to play in.

Collage by Edward Kanarecki.

It’s A Smash. Lacoste AW19

Lacoste is a tricky brand. Its roots are in tennis, while the green crocodile logo is often perceived as dismissingly as Tommy Hilfiger’s or Calvin Klein’s. But Louise Trotter (former designer at Joseph) made me fall in love with her vision of the brand, completely. Her debut was a smash, so a winner strike according to tennis jargon. Her love for minimalist, clean lines and athleisure are true to her style, so it wasn’t a surprise her aesthetic goes so well with Lacoste’s context. The autumn-winter 2019 show was all about tennis clothes, but transformed into desirable, high fashion. Polo necks in ribbed knit; chunky vests were worn over maxi-lenght, breezy dresses covered with the crocodile print; trackpants came in over-sized, slouchy jersey; zipped sweatshirts were kept in bold colours. The opening looks, featuring the chicest shade of beige, informed Trotter’s stance on her Lacoste: expect elevated daywear with a sporty spin. Big love.

Collage by Edward Kanarecki.

Not Demanding. Miu Miu AW19

Miuccia Prada‘s latest Miu Miu collection didn’t really touch my heart this season. It maybe had to reflect today’s youth, ready to face the world, but to me it felt like a show done ‘last minute’ (I know it wasn’t, though). Bit of camo print there, florals here. Baby doll dresses and trekking boots aren’t a surprise anymore. The long cape-coats? Didn’t buy them, either. The collection had to feel spontaneous in a way, maybe grunge-y even, but there’s a difference between ‘cool eclecticism’ and ‘messy’. But if you put the clothes out of the show’s styling, you can see few great pieces. We’re all exhausted sometimes, and Miuccia definitely felt like it’s good moment for a non-demanding, commercial collection. That was Miu Miu’s primal idea, after all.

Collage by Edward Kanarecki.

Farewell, Karl. Chanel AW19

Chalet Camelia. Winter wonderland. Houndstooth coats and tweed hats. Luxe knits and eternal CC logo. Snowball skirts and Choupette fluffiness. Penelope Cruz, Cara Delevigne, Adesuwa, Maria Carla Boscono, Mica Arganaraz, Kaia Gerber, Anna Ewers, Adut Akech and the Chanel girls. Thousand of tears dropped, from Michel Gaubert’s minute of silence to the model’s finale walk (some couldn’t hold the tears). But you surely know all this.

I doubt Karl Lagerfeld would want his last show to be a fussy, overemotional event. His last show was exactly how he planned it to be: as if it was his next collection for Chanel, another fantasy. “Oh! It’s like walking in a painting!” Farewell to the visionnaire, the most prolific, joyous, assertive and energetic designer the world has known, whether you agree with this or not. But those are facts. What will next seasons look and feel like without him? I’ve got no idea. It seemed like he was always there. On the show’s invitation there was Lagerfeld’s last illustration, captioned: “the beat goes on!“. He wanted it to go on, so let’s all look forward to Virgine Viard’s future for Chanel.

Collage by Edward Kanarecki.