In the face of extreme entertainment, fashion is seeking a new leading role
Celine is the standout brand of the season. Givenchy showcases a new approach to tailoring, Lanvin offers elegant, flowing silhouettes, and Magliano impresses with his vision
Despite the ever-high expectations, Paris Men’s Fashion Week, which ended on Sunday, also seemed rather lacklustre, much like Milan. The unbearable heatwave didn’t help, but it is the whole system that seems to have ground to a halt. The production of pure entertainment is illusory and highly detrimental: if we do not focus on the clothes themselves, everything collapses – first and foremost, consumers’ ultimate interest. It is only by starting with the garments, in fact, that a message with real impact can be crafted.
It is no coincidence that, from this perspective, the real winner of the season was Michael Rider with Celine. Here, it all starts with the clothes, which are used to play with and tell a story, branching off in endless directions without fear of being accused of inconsistency. On the contrary: the idea is precisely to tell a story and encompass a multitude of identities, recognising that a single person can be many, and consequently so can a brand.
The collection possesses an indescribable lightness and energy, and captures in its own unique way almost all the season’s themes – lightness, decoration, feminine indulgences – transforming them into elements of a narrative that can be adapted at will.
From Magliano, the idea of a life lived to the full – wearing clothes that bear the scuffs, creases and stains of a thousand adventures – is a defining feature. For his second season in Paris, Luca Magliano transports his unmistakable outcasts from the Emilia-Romagna countryside into the decadent splendour of Chez Maxime, staging a tableau vivant that depicts the final moments of a sumptuous banquet. The staging, accompanied by a pungent scent, is evocative, though somewhat at odds with the spirit of the brand. As for the garments, it is interesting to observe how Magliano manages to express himself whilst remaining true to his own stylistic code, effectively establishing himself as a classic in a class of his own.
The designs by Willy Chavarria exude the proud attitude typical of Chicana culture. This season’s show is less theatrical, yet still permeated by a fervent ecumenism which, at this point, means little, whilst the clothes say even less. At Junya Watanabe, it’s all about tracksuits, pearls and chains, whilst at Amiri, sequins and austerity come together in highly personal ways.
