Paris on fire: scorching temperatures and cool looks at men’s at fashion week

DIOR

In an effort to beat the heat Dior moved the show from 2.30pm to 9am when temperatures were already at 32C (by the afternoon temperatures were 41C). Held in the salons and garden of Musée Nissim de Camondo, a jewel of French heritage, currently closed for restoration until 2030. Jonathan Anderson celebrated his one year Dior anniversary as creative director by throwing a house party for the Dior man, complete with a black disco ball invitation and soundtrack by Fred Again. At a press call after the show the designer noted a new movement of kids going out and rave culture is back, “I see it on the Seine at 7am in the morning” he said, kids are dressing up again. But this wasn’t a collection only for the young, “It can be for my dad or me” he added. 

Anderson further explained he was building on the character of the Dior man and “Skew-whiffing it”. Opening with a series of super-lightweight tailored chiffon suits, perfect for the blazing heat. He described them as “ripping out the inners and rebuilding as a lining structure”. There were drop lapel jackets based on a Marc Bohan design, distressed jeans with fine chains strung across rips, pyjamas cut in cotton drill, trompe l’oeil scarves and disco pants (and shorts) aplenty in gold and silver that nodded to the Hedi Slimane era while centring it firmly in the now. The throughline was fun, “fashion needs to be enjoyable” Anderson concluded.

DRIES VAN NOTEN

Ice lollies and cold beers were handed out, handheld fans were doing overtime and paramedics were on standby at Dries Van Noten, the last show on the hottest day of fashion week. The soporific effect of the heat turned out to be the perfect backdrop to the collection, inspired by the poem L’Après-midi d’un faune by Stéphane Mallarmé, about a half-man, half-fawn creature who dreams of nymphs, sensually dancing, waking up in a confused haze. “I was moved by the haziness the verses depict,” creative director Julian Klausner explained. Light and delicate became Klausner’s watchwords for SS27. Wisps of feathers danced in models’ hair as they walked, tailoring flows and flutters, fabrics are silks, watery nylons, shimmering and gauzy. Spaghetti straps and backless details added to the sensuality. “I hope everything feels loose, delicate, easy to remove”. Klausner said. Prints of leaves and flowers mixed with ombre and bleached denim underscored the dreamy effect of the collection. 

RICK OWENS

Rick Owens also started his show earlier in the day but the sun was already beating down on the courtyard at Palais de Tokyo, turning it into a sun trap. Guests sheltered under black umbrellas and models received some respite from the heat thanks to the spray of the impressive water-jet archway they paraded under. 

In an email to attendees Owens spoke about training: “We are all processing menace, some of us arm, some of us train.” he said. A collaboration with Adidas saw tracksuits morph from technical jersey into leather versions and a new high-performance running shoe. In a remarkably prescient move, several models wore large inflatable suits which looked unbearably hot but contained Adidas’s Climacool system technology, shown in inflated suits with interior fans, combined with a ice vest create a personal air con system with the aim of cooling the torso of a runner before a race (or a model walking a fashion show).  

Strong-shouldered tailoring came in compact silk crepe, generously cut caban jackets constructed in Duchesse satin and woven with recycled polyester yarns. Made on antique looms in Como, Italy, only 25 metres can be produced per day. A beige, sheer tank top made from hand-piped latex (picture decorating a cake) took 35+ hours and four hands to complete.

LOUIS VUITTON

The set at Pharrell Williams’s Louis Vuitton menswear show was jaw-dropping – a beach, complete with impressive 10-metre-high breaking wave, erected in a garden of a university campus (much to the chagrin of students, a small group of whom protested outside). Models entered from under the wave “tunnel”; some carried surf boards and bags shaped like shells. 

Citing the unconventional elegance and nonchalant sophistication of surfers and dandies as inspiration, Williams showed tailoring alongside LV-branded wetsuits. Weathered denim was a recurring motif. Acid colours and graphics inspired by surf culture punctuated the collection. Stand-out looks included embellished palm-tree-motif tank tops and a jacket made from destination patches sewn together. Louis Vuitton announced support for a coral-reef restoration project in French Polynesia that will help restore 250 square metres of reef habitat this year.

IM MEN

Titled In Praise of Bamboo Shadows the IM MEN collection took inspiration from East-Asian decorative arts featuring bamboo motifs, encountered by the design team during a visit to the Musée des Arts Décoratifs in Paris. Misty bamboo forest landscapes in ink-wash paintings, and the intricate layering of branches and leaves created by the paper stencils used in katazome kimono dyeing, served as references. 

The collection unfolded in a series of chapters, starting with “Bamboo Shadows”, featuring patterns by graphic designer Rikako Nagashima, inspired by shadows cast by bamboo. The patterns are printed using a Japanese dyeing technique called ironaki, on fabric woven from bamboo fibers and organic cotton. A section called “Void Cotton” explored negative space by removing pockets, causing the body to become visible beneath (this looked particularly appealing in the blistering heat). The “Bloom Nylon” final chapter saw garments made from high-density nylon with a distinctive, paper-like texture. Looks came in an explosion of colour to mimic flower petals. The closing look draws inspiration from the 12-layered kimono worn by Princess Kaguya in The Tale of the Bamboo Cutter, one of Japan’s oldest folktales. Its fluid volume presented a chic and airy way to dress for a hot summer. 

GIVENCHY

Sarah Burton’s first menswear presentation was unveiled at the Givenchy headquarters on avenue George V. Divided into three groups, each focused on a different facet of the wardrobe: everyday, tailoring and evening. Archetypal menswear pieces, like a double-breasted jacket, rugby shirt and a bomber, were given a couture remix. Elements of the womenswear collection were seen in large cufflinks made from repurposed earrings and a trio of floral embroidered looks that showcased the skill of the atelier. 

These were shown alongside works by English artist Rachel Whiteread, including buttersoft leather tracksuits in joyful block colours that matched Whiteread’s Untitled Canisters series. “I wanted this to feel very personal and intimate, and to reflect the conversations that I have with the friends of the house.” Burton said.

WILLY CHAVARRIA

Willy Chavarria took a more intimate approach to SS27 after his multidisciplinary AW26 extravaganza. Showing in a moodily-lit Espace Niemeyer this collection was a more low-key presentation. The space was enveloped in an earthy, botanical scent by Xinú, a luxury Mexican fragrance brand. Titled Comunión, the collection was dedicated to communal spirit and the art of finding joy from it. “Comunión is a belief that we are more whole together than apart,” Chavarria explained. The cast included Jordan Clarkson of the New York Knicks; fellow fashion designer Bella Freud, and Romeo Beckham. 

The strong colour palette – lemon, copper green, lilac and red – and homely nostalgic floral prints drew on the work of Louis Carlos Bernal, a Chicano photographer from the 1970s. Suiting came in both tailored and relaxed silhouettes, often paired with shorts for a more casual look. The women’s category continued to expand with a noticeable elevation to the finish; silk dresses that drape across the body, voluminous cocktail dresses, boxer shorts peeking out from form-fitting pencil skirts. Footwear came in collaboration with Ugg, that will launch in the autumn, featuring guard and biker boots and a Hotel Chavarria slipper.

AMI

I ❤️Paris was the mantra for Alexandre Mattiussi’s co-ed Ami show. “It captures the spirit of Paris, the warmth of memories, and the people who inspire me every day,” he said in his notes. Mattiussi’s mix-and-match aesthetic was evident throughout. “For me, clothing should never feel restrictive,” he said. “These are clothes made to be lived in.” It was easy to imagine all the looks on the streets of the city. Highlights included the sequin skirts paired with pull-on sports jackets and stripe rugby jerseys, and an Argyle knit with a heart-shaped motif worn with a satin duster coat and cut-off tailored bermuda shorts.

AMIRI

The nocturnal happenings of LA were the SS26 moodboard starting point – think Hollywood after dark, Malibu at sunset, and Beverly Hills at midnight, with the 1980 film American Gigolo (famously costumed by Giorgio Armani) thrown in for good measure. Metallic tones of silver, gunmetal, copper and burnished gold flooded the colour palette. “This collection is about a tension between seduction and sophistication, a soft tailoring and refined elegance that feels modern,” said founder Mike Amiri, “I want to combine that with glamour – for him, and for her.” 

The glam came in spades; shirts unbuttoned to the naval under fitted suits (all worn with cowboy boots), beaded mini-dresses, and embellished bombers and Western jackets. The memorable final look was a shirt printed with a sunset scene of LA. With its strong Hollywood links, AMIRI always draws an A-list crowd: front row guests for SS27 included Columbian rapper and singer Maluma and actor Octavia Spencer.

LANVIN

Creative director Peter Copping hosted a presentation at Lanvin’s new HQ, Hôtel de Botterel-Quintin, in the 10th arrondissement. The walls of this 18-century mansion were decorated with reference images, paper patterns and fabric swatches showing the craftsmanship of the collection. Taking inspiration from Surrealism and its founders, some of whom, like Salvador Dalí, were dressed by founder Jeanne Lanvin. The resulting silhouette is youthful with relaxed proportions. The influence of womenswear is never far from Lanvin menswear, seen in fabrics, colour palette and the eveningwear embellishment – used here on a shirt front. Another highlight was a capsule collection with British knitwear maker John Smedley, featuring striped knits, knitted polo shirts with contrast collars, and an archival chevron on crew necks.