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PARIS (AP) – Once again, Naomi Campbell stole the show at Paris Fashion Week. The 51-year-old track veteran walked the boards of Lanvin’s flower-themed collection on Sunday to screams of guests in a dramatic black cape.
Meanwhile, on Sunday night, fashion insiders traveled to the western outskirts of Paris for Matthew Williams’ Givenchy display that looked to the future.
Here are some highlights of today’s spring 2022 collections:
THE POWER OF LANVIN FLOWERS
Flowers are a natural touchstone for spring. Lanvin was the last house to use flowers this season, designer Bruno Sialelli using them with aplomb. He gave dynamism, humor and a contemporary touch to this fresh morning collection.
Slightly structured garments, crisp but flowing, allowed the collection to start with a minimalist vibe.
Then came the historic touches necessary for the heritage-conscious brand, the oldest working fashion house in the world. The glittery sequined panels on the chiffon dresses were taken from a 1934 dress named “Concerto”.
But it was when the vibrant flowers appeared that the real fun came out. The first flower on the runway was in the form of an oversized bracelet and then, like a print, blooming in yellow, through a funky short suit.
A print of blooming flowers in black and yellow was omnipresent – an image executed with out of focus. This gave the spring reverie a harsher urban edge. Flowers on a trendy bikini top provided an elegant pop of color under a vanilla suit jacket.
A pastel gray dress had so many applications of blue flowers that they spilled over, pollinating on the model’s bare chest in the form of sticky pins.
However, it still seems like there is still some way to go before anyone can replace longtime Lanvin creator and icon, Alber Elbaz, who passed away last year.
GIVENCHY’S ANACHRONISM
Williams was in excellent shape on Sunday, putting a fashion twist on historic clothing.
Guests sat around a futuristic white oval runway to watch the looks, which were filmed live by a menacing black robot on wheels following the models.
Anachronism was omnipresent in this 70-piece show, which foamed with the flourishes and frills of yesteryear.
Skinny black pants morphed into platform sneakers to evoke 18th-century leggings, while chunky shoes sported an arched sole in the spirit of old-fashioned clogs.
Corset silhouettes perfectly captured this season’s mania with bikini style, while crisp collars resembled an Elizabethan and space-age strawberry. There were funny contradictions.
Yet these historical pieces never looked like parodies. Perhaps it was the minimalist touches or the dominance of black in the designs that allowed the collection to feel contemporary at all times.
L’ORÉAL CAMPAIGN AGAINST HARASSMENT
The setting, the Human Rights Square, was symbolic. The square was where the Universal Declaration of Human Rights was first adopted in 1948. And this event was L’Oréal’s big comeback to Paris Fashion Week with an anti-harassment show street and in favor of the emancipation of women.
As in its three previous seasons, the house put on a lavish exhibition featuring stars such as actress Helen Mirren and “Game of Thrones” actor Nikolaj Coster Waldau. It was open to the public and broadcast in over 30 countries.
While the cosmetics giant takes care of makeup and staging, fashion is left to professional designers: Behind the sparkling looks were Balmain, Elie Saab, Mugler and Issey Miyake, as well as a selection of emerging houses. such as Koché and Ester Manas.
L’Oréal is on the message equally. But this has not always been the case. In 2020, transgender model and actress Munroe Bergdorf jumped on L’Oréal’s #BlackoutTuesday posts to accuse the beauty brand of hypocrisy for firing her three years ago when she complained of racism in a strong language. Bergdorf, who was fired as L’Oréal UK’s first openly transgender model in 2017 for speaking out against ‘racial violence against whites’, later accepted a consultancy role on the UK Diversity Advisory Board and inclusion to help “influence and inform the brand.” “
PAUL SMITH IS CRISP AND LOOSE
Color, sharpness and suppleness were the key ingredients for Paul Smith. For spring, the British fashion icon returned to the decade of optimism: the glorious 90s. It made for a live show that felt fresh and young – although bringing back that era as a vintage benchmark made that some fashionistas feel old!
Striped silk bandanas, puffy plaid shirts and tight-fitting coffee jackets with round shoulders and flared pants evoked the era of Brit Pop.
However, other clothes became artistic, such as a knitted sweater and trousers featuring geometric yellow squares reminiscent of the painter Piet Mondrian.
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Thomas Adamson can be followed on Twitter.com/ThomasAdamson_K
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