It almost seems easier to “cover” the international fashion weeks remotely. Indulging in the immediate nature of Style.com’s coverage and the simple task of searching a hashtag (see: #celinefurshoes, #celinebirkenstocks, #margielasinuscuffs,) on twitter or instagram are no digital feats I take for granted.
Insight I can offer given the first hand experience this Paris Fashion Week has provided include the pros and cons of both. Pro of Paris: time is not the enemy. Con of Paris: It is not New York. Pro of New York: It’s familiar, which is subjective, and never very lonely. Con of New York: It is not Paris.
That mutual con isn’t supposed to be some obscure observation that points toward existentialism, there’s just something to be said about recognizing and appreciating the art of the fashion show–this is something Paris offers. The shows are thoughtful, grandiose productions and though that’s translated to New York, the authenticity and romance–maybe even nostalgia, that Paris offers remains indigenous to the city. It does get lonely though and that’s something not even the quietest of New York Fashion Weeks can combat–there’s an art to the collective hustle of New York and tends to ignite real kinship and ship and canoes and ship.
All that said, here’s a bit of what I’ve seen, liked, not seen, loved.
I appreciate that Isabel Marant‘s recurring constant is the seamless and easy transition from the following season. The vibe and silhouettes rarely change–they’re just updated. Hawaiian prints and studs (the inspiration included Elvis and Las Vegas,) were smashed onto her signature silhouettes and one particular white cropped top (at right,) told me: cha-ching. Also, the chokers.
And the shoes: I can’t speak to the left hand slant toe but there’s something very nostalgic about these. They’re wrapping up the sensibility of 90s runway culture and shooting it out of a big ass gun that renders everything “new.” Call me if that doesn’t make sense, we’ll talk it out.
At Maison Martin Margiela: The sinus cuffs.
This is a sentiment I tweeted. I tried to prove my thoughts with a photo but recognized shortly thereafter that sinus cuffs are invisible to even the most naked of filtered eyes. It was hard to demonstrate with words any other way and so now I must ask–do you know what I mean? To the right I imagine what will happen is you will try to shield your eyes from sunlight and then you will fail.
Per the clothes, this show came directly after Isabel Marant and because the studs, cropped tops, easy dresses, exciting prints and interesting shoes all but light up Coachella flash bulbs in my head, I went to Margiela with camping trips on my mind. When I arrived, I was happy to learn the collection very well accomplished the actual camping portion of the trip. Why pitch a tent when you can wear one? Why?
And from before the start of my trip: the two lightest highlights of Paris Fashion Week included a. Balenciaga flamenco skirts.
See: left. B. Balenciaga embroidery, C. Balenciaga bare midriffs and subtle cut-outs at large, D. white sleeveless lab coats. E. French hair.
And then there was the most eclectic highlight of the week, and you just let me know if I’ve allowed Jordan Catalano to infiltrate my thinking process and let it spill over to my general disposition far too aggressively:
Dries van Awesome (Noten.) This collection is oozing with personal style–carefully selected for you.
The sheer skirt and pant details and combination of embellished (body obstructing) low waist pencil skirts (note the irony in that description) paired with the various sheer, silk, organza plaid blouses feel fresh. Don’t they? It’s so simple, and wearable, nothing here seems very novel. It’s easy to consume and yet feels so exclusive, new, luxurious. Maybe it’s the wearability factor and the collections luster lays in the idea that decompartmentalized all of these pieces (including the sheer tent maxi suit) seem so simple.
Yes, step into Dries and quietly, you rule the world.
Or at the very least, your own universe. Up next: Celine birkenstocks.