Image via Complex Original
After an exciting run of collections at London Fashion Week and Florence’s Pitti Uomo, Milan and Paris followed with a packed schedule of presentations and shows after many brands opted for virtual outings because of Covid. In Milan, Prada, Alyx, and Zegna were highly anticipated. Matthew M. Williams of Alyx unveiled an exciting range of garments, including an innovative new footwear collaboration with Nike, during a high-octane show that teased a new song by Yeat. Beloved Belgian menswear designer Raf Simons continued to collaborate with Miuccia Prada to help steer Prada’s menswear offerings into a more modern and youthful direction. Milan also served as a platform for young designers like Dhruv Kapoor, who debuted his first live runway presentation and became the first Indian designer to present at Milan Fashion Week. And designers like JW Anderson, who is British, opted to present in Milan for the first time.
In Paris, Louis Vuitton presented another posthumous collection designed by Virgil Abloh’s team that included a surprise live performance from Kendrick Lamar. KidSuper’s first presentation on the official calendar was actually an art auction that supposedly pulled in over a half million in sales. Nigo returned to Paris to present another standout collection for Kenzo that celebrated classic collegiate style while Thom Browne returned this season to reimagine an iconic womenswear staple. Reese Cooper, Bianca Saunders, Airei, and so many other young labels also rounded out the show calendar. Here are our highlights from Milan and Paris Men’s Fashion Week.
Prada
Titled “Prada Choices,” Prada’s Spring/Summer 2023 men’s collection was presented at the Prada Foundation, a multi-room space designed to look like a mocked-up house made entirely of raw edge paper and accentuated by long gingham curtains and a floor covered with strips of brown paper that evoked a childlike spirit. Despite the whimsical set, the collection was pared down. Mrs. Prada and Simons called it “an expression of curated processes” in the post-show release adding that the line is an expression of the design process, which involves complex decision making even with simple results. There was a focus on wardrobe staples like the suit, which was slim; a washed denim, which was also close to the body (and included short shorts); and leather jackets and shorts with zipper details. The line was accentuated with gingham jackets, which lent the items a new context, and striped knits. Each look was paired with a black cowboy boot that curved upward, or a black sneaker covered with a splash of colors. If the pandemic has taught us anything, it’s that the state of the world affects what we wear, whether we notice it or not. And as we ease back into “normal” life, the paradox of choice can be a struggle when you consider getting dressed again. But with this collection, Prada and Simons help us by offering their simplest proposition.—Aria Hughes
Gucci
Harry Styles’ funky “Music For a Sushi Restaurant’’ has been slowly burrowing its way into our brains with each passing play, but the 28-year-old British pop star isn’t only creating new music. During Milan Fashion Week, Gucci revealed its latest collaboration to the world, a 25-look collection with Styles titled “Ha Ha Ha.” The partnership shouldn’t come as too much of a surprise. Styles has blossomed into a modern day fashion icon in his own right known for his androgynous style and Gucci’s creative director Alessandro Michele has been dressing the singer for countless award shows and concerts since 2015. Styles also became the face of the Gucci Tailoring campaign in 2018 and starred in various ads. The two friends even attended the 2019 Met Gala together. Styles’ ‘70s-inspired wardrobe, full of bright pops of color, flared bottoms, and bold patterns aligns perfectly with Michele’s current design language for the fashion house. And we get plenty of that with “HA HA HA,” a title that nods to the co-designers’ initials and is more obviously the traditional signifier of laughter and joy.
Rather than a runway presentation during Milan Fashion Week, Gucci released a lookbook to show off what Michele refers to as a “dream wardrobe,” and previewed the pieces in Cavalli e Nastri, a vintage shop in Milan. Each look consists of items you may expect to see Styles wearing on any given day–red checkered satin pajamas covered in baby blue hearts, yellow gingham suits showcasing blue lambs and cherries, striped sweater vests, a cropped triangular patchwork leather jacket, and shirts with pearl detailing. The overall assortment places fun at the forefront, a smirk-inducing grouchy teddy bear graphic motif is used across the collection, and provides a whimsical approach to classic men’s tailoring. It also proves that not every celebrity partnership feels forced or gimmicky. If anything, it’s surprising we did not see Michele and Styles designing together sooner. —Mike DeStefano
Alyx
Matthew M. Williams, the designer behind Alyx, opened up Milan Men’s Week with a show that took place at an abandoned pool, covered with graffiti by Chito, on the outskirts of the city. The designer has come a long way since releasing the chest rig and the roller coaster buckle, but his Spring/Summer 2023 collection, titled “Motion,” still embodies the signatures he’s developed for Alyx, a sportswear driven line focused on technical details and fabrication. Models wore baggy cargo pants—accentuated with origami pockets—that were styled with matching technical vests. He also showed boxy leather jackets with Alyx logos on the back. He offset the heavier pieces with lightweight knitwear that’s typically used in tropical environments, and women wore slinky dresses made from technical stretch fabrics used for bathing suits. Williams debuted the Nike x MMW 005 rubberized slip-on along with the Mono Boot, a large, shiny boot with a square toe. Graphics were light this season, but he did present a new peace sign logo that integrates the circle A Alyx logo. The show closed with a fluro yellow feather jacket, which Bloody Osiris would later wear to the Givenchy show, and an original song from Yeat. With Alyx, Williams has presented a clear point of view and brought new ideas to product design.—Aria Hughes
JW Anderson
Following JW Anderson’s Spring/Summer 2023 show, the internet couldn’t get enough of the more abstract propositions, which included sweaters interlaced with broken skateboard decks, or models with BMX handlebars adorning their necks. Designer Jonathan Anderson, who is known for his craft and DIY approach, used these objects to underscore the ephemeral nature of modernity and youth. It’s an interesting idea to expand on at a fashion show, which has become more fleeting in nature due to the pace and noise tied to the industry, but it got the point across. Anderson said he was inspired by The Pitchfork Disney, a stage play written by Philip Ridley that shocked the audience. But in addition to the surprising conceptual looks, there were a myriad of exciting pieces that felt familiar but still new like the leather shorts that looked distressed, or the knit sweater with a fringed turtleneck, or the multicolor technical parkas, or the cropped double breasted jackets, or the knit sweaters with hanging gloves, or the sweater covered with an illustration of artist Rembrandt, which is known as the first ever selfie. We could go on, but the point is, Anderson presented pieces that people will want to buy and wear—and hopefully make them think.—Aria Hughes
Zegna
Artistic director Alessandro Sartori decided to celebrate the storied history of Zegna with his most recent runway presentation. The show was held on the rooftop of the wool mill in Oasi Zegna, the nature park in Piedmont, Italy created by Ermenegildo Zegna in 1910. The collection introduced a modern and more casual approach to Zegna’s signature suiting such as lapel-less linen jackets, wide-legged trousers, knit sweater vests layered over big-collared shirts, airy trench coats made of a satin-like material, and a footwear collaboration with Mr. Bailey on the stack-soled Triple Stitch sneaker. Springy hues like yellow and dusty rose were used throughout, a refreshing change of pace from Zegna’s usual earth-toned palette. A brush stroke-esque pattern featured on vacation shirts, knit vests, and T-shirts added to the lively feel of the collection. Sartori seems committed to honoring Zegna’s past, while still making sure the Italian menswear brand doesn’t get stuck in it. Collections like this one prove he is excelling. —Mike DeStefano
Dhruv Kapoor
Dhruv Kapoor returned to Milan this season to present his first-ever live menswear presentation. It wasn’t just a historic moment, as Kapoor became the first Indian designer to show at Milan Fashion Week, but a full circle one for the 34-year-old designer. Kapoor received a master’s degree in womenswear design from Milan’s prestigious Istituto Marangoni before launching his eponymous label in 2013. Kapoor’s accolades include winning the Vogue India Fashion Fund in 2015 and being nominated for the International Woolmark Prize in 2017 and 2018. His Spring 2023 collection was an eclectic mix of street-ready styles and casual tailoring. Standout looks included upcycled denim vests and oversized tracksuits. Both floral and anime-inspired prints enlivened button-up shirts that paired well with sweatpants boasting three-dimensional cargo pockets. Straps and tassels were a recurring motif seen throughout the free-spirited collection. Kapoor follows in the footsteps of designers wanting to build their labels holistically by using surplus and deadstock materials. Since India is widely known as one of the world’s largest textile manufacturers in the world, Kapoor has a lot to experiment with when it comes to sourcing fabric and materials. His latest collection shows his label is teeming with potential. —Lei Takanashi
Louis Vuitton
Virgil Abloh is gone, but his presence was still felt at Louis Vuitton’s Spring/Summer 2023 Men’s show, which was designed by the studio team that worked under Abloh during his four-year tenure as men’s artistic director. His childhood ethos was felt with the invite, a board game, and the expansive show set, that featured a winding yellow runway, harkening back to Abloh’s first show for Vuitton that referenced The Wizard of Oz, and giant red balloons dotted along the Louvre Museum courtyard. The show started with a performance from the Florida A&M University marching band, setting a tone of celebration rather than mourning. Following that, the strings from Kendrick Lamar’s “Savior (Interlude)” started to play as the first looks walked up the runway and Lamar performed from his seat wearing a diamond encrusted thorn crown (created by Tiffany & Co.) while sitting next to Naomi Campbell and his creative partner Dave Free.
The clothes were in line with the staples Abloh has developed at Louis Vuitton. Bright varsity jackets, tailored suiting with unconventional details like pant slits, scalloped edges and paper planes, baggy denim, and graphic intarsia knits. Accessories ranged from opera length leather gloves covered with baroque details inspired by the Cruel Summer album design (a white leather jacket also reflected this reference), a fortune cookie bag, and a brightly covered Keepall made from crochet knits. This was all accentuated by footwear including an oversized slip on and padded sneakers reminiscent of skate shoes. While there’s rumors surrounding who will replace Abloh at Vuitton, nothing has been confirmed as of yet. But this show felt like a respectful closing of the chapter on his short but impactful time with the house.—Aria Hughes
Dior
Kim Jones imagined what the world’s most luxurious camping trip may look like with Dior’s Spring 2023 presentation. Models walked down a grassy runway reminiscent of the European countryside lined with gardens full of colorful flowers. A picture perfect blue sky and two cottages with ivy walls acted as the backdrop. The setting was meant to nod to the homes of Christian Dior and painter Duncan Grant, whose works appeared on various pieces including the fur-collared coats and the sheer tank tops. Many of the clothes took clear inspiration from outdoor gear usually reserved for hiking and camping, but recontextualized it through a luxury lens. Highlights included pastel-colored nylon anoraks and fleece zip-ups with floral details, quilted coats, sweaters with technical elements like zippered pouches, and double-layered shorts that sat high above the knee. Accessories like wide-brimmed sun hats, waist bags with straps to house small items like rolled blankets or water bottles, and backpacks with hoods attached built upon the theme. The footwear was also impressive, and included Dior’s interpretations of rugged hiking shoes, rain boots, and weaved slip-ons that slightly resemble Merrell’s Hydro Moc and feel tailor made for the current mule trend. Mixed in are modern takes on Dior’s roots in suiting such as grey jackets with asymmetric lapels and baggy pleated trousers.
In recent seasons, we have seen Jones lean on big names like Travis Scott and Eli Russell Linnetz to formulate Dior’s cohesive vision, and quite frankly, capitalize off of the hype that comes along with A-list collaborations. With his latest runway presentation, Jones shows that he still can produce something significant and focused, no collaborator required. —Mike DeStefano
Airei
Drew Curry continues to impress with the second Paris Fashion Week presentation and fourth collection overall from his blossoming brand, Airei. Titled “Sunflower Gardens,” the collection builds on the brand ethos that Curry has established for Airei with new knitwear, intricate stitching on tops, and reconstructed workwear with elements that beg the wearer to rip the seams and unlock the piece’s full potential. The range was displayed in a buildout made to resemble Mother Teresa’s Nirmal Hriday, a shelter he volunteered at a number of years ago while living in Kolkata, India. His experiences in India also have a great amount of inspiration on the clothes themselves.
Puffy chore coats and shorts feature two layers of Khadi gauze, a traditional Indian fabric, intended to tear away over time or be ripped to open up pockets. Khadi silk is used to construct traditional Indian garments like Kurtas and pajama sets. And pops of color are present in small doses via items like knit vests, bucket hats, and face masks that have been dyed using Saffron plants. Further implanting Indian culture into Airei’s DNA, blankets from “Sunflower Gardens” were created by individuals in the Kolkata community. Other shirts act as a canvas for intricate stitching that recreate Mother Teresa’s bedroom or inspirational words like “Destiny.” In January 2022, Curry told Complex that, “Paris Fashion Week is always that platform I hoped I would get to.” If he keeps producing collections like this, he will continue to be a highlight on the PFW calendar for years to come. –Mike DeStefano
KidSuper
Colm Dillane is known as a welcomed rule breaker during fashion week. In the past, the Brooklyn-based designer has presented collections through quirky short films and even claymations. KidSuper’s first runway presentation on the official calendar of Paris Fashion Week, titled “Breathing Life Into The Inanimate,” was a fashion show staged as an art auction. Each look, or lot rather, was presented by Christie’s auctioneer Lydia Fenet as an actual painting by Dillane that the audience could bid on. As the “Superby’s” auction occurred, models walked with garments derived directly from Dillane’s surreal artworks—most paintings highlighted vignettes of everyday life in New York City. A painting of a gathering in Washington Square Park was turned into an olive green knit sweater and a pair of printed cargo pants. A dreamy watercolor of a fixie bike rider was transformed into a drapey trench coat. Celebs like G-Eazy, Westside Gunn, and Russ placed bids that went as high as $210,000. The 23 looks throughout the collection featured a mix of suits, dresses, and casual ready-to-wear apparel. Accessories included leather cross-body satchel bags decorated with paint brushes and tin lunch boxes. A new 3D-printed sneaker collaboration with Zellerfeld was also unveiled, which gave a new take on vintage men’s platform shoes. During a time when many fashion labels are diving into a gold rush for intangible forms of digital art, Dillane reminded us how captivating it is to see what physical brush strokes can create on a canvas. Yes, one can imagine the bidders were likely in on Dillane’s humorous approach to present an fashion show as an auction—which allegedly garnered $529,000 in sales. But even then, the artwork that builds the foundation of Dillane’s label will always feel much more real, and more valuable, than any NFT. —Lei Takanashi
Kenzo
Nigo returned to Paris Fashion Week over the weekend to present his second collection for Kenzo. The Japanese designer picked up where he left off with references to Kenzo Takada’s archive weaved into various looks. The runway itself had a very retro collegiate vibe, thanks to the colorful array of giant Kenzo pennants hanging from the ceiling. The theme was translated through the clothes with traditional pieces like varsity jackets, plaid blazers and skirts that resembled school uniforms, and vests covered in various logos from the Kenzo archive. Some of the looks channeled vintage naval uniforms complete with sailor caps, jackets with boke flower badges tacked to the chest, and blazers with sailor-striped lapels. Hickory-striped sets took cues from ‘30s and ‘40s workwear, and suiting was given a playful twist with wavy vertical stripes and big checkerboard prints that were a nod to Kenzo collections from the ‘80s and ‘90s. The knitwear offering was also impressive, which included blue zip-ups with yellow panels, vests embroidered with collegiate lettering on the chest, and a colorful patchwork sweater. And Boke flowers remained a consistent graphic alongside new additions like an elephant head and an all-over animal print featuring creatures like lions and snakes that covered outerwear. With Kenzo Spring 2023, Nigo continued to fine tune his vision for the French luxury house, while making sure to honor its rich history. —Mike DeStefano
Reese Cooper
Reese Cooper returned to Paris this season with his first live show on the official calendar of Paris Fashion Week. The show titled “Seed & Soil” was fittingly held at the Jardin des Plantes, one of the world’s oldest botanical gardens with a live soundtrack provided by Kaytranada. The collection’s color palette was split amongst earth tones, blue hues, and bright white fabrics to represent soil, water, and light. What blossomed from that soil was Cooper’s elevated takes on classic American workwear. As always, iterations of Reese Cooper’s beloved chore coats returned on the runway alongside knitwear, suiting, and womenswear. Many of the garments were embellished with gussets boasting pockets attached by laces—part of a new “modular pocket system” introduced by the label this season that allows the wearer to place pockets anywhere they please. These garments created a sprawling display of laces, creating futuristic looks that were still grounded in the past. Prints inspired by the Jardin des Plantes made bold appearances on silk dresses, shirts, nylon windbreakers, and knit sweaters. Artwork from Cooper’s girlfriend, the designer Juliet Johnstone, included hand painted images of botanical species found within the French garden, which were later printed on silk fabrics. Bolder looks within the collection included varsity jackets with chenille ivy embroideries and oversized army green nylon tracksuits overflowing with cinch cords. A collaboration with Levi’s, which included denim trucker jackets, jeans, and upcycled apparel, was a perfect match for a designer long infatuated with Americana. Cooper planted his seeds early and launched his eponymous label before he could even legally buy a drink. At last, with enough light shining on him, Reese Cooper is truly beginning to blossom. —Lei Takanashi
Thom Browne
Thom Browne returned to Paris this season to present a collection that celebrated classic French tweed suiting. It’s not a surprising reference point for Browne. The New York-based designer has long been infatuated with the dapper style of the ‘50s and ‘60s. His latest for Paris Men’s Fashion Week explored iterations of the iconic two-piece tweed suit popularized by Chanel before becoming ingrained into American culture via Jackie Kennedy. But like all of Thom Browne’s collections, by dialing into different interpretations of an iconic uniform, he opens doors into a fantastical world only he could create. Browne’s vision of French tweed suiting is deconstructed, genderless, and no longer solely associated with the tory socialites who “arrived” fashionably late in the first looks presented for the show. Men dressed as punks—perhaps a subtle reference to his beloved Fall 2012 collection—wore luxurious tweed coats paired with Browne’s signature skirts tailored at even shorter lengths than before. Browne’s tartan plaid motifs covered tweed bikini tops and yellow tweed shorts suspended by jock straps—which held up a number of revealing bottoms throughout the collection. Even Browne’s popular Hector dog bags and suitcases were outfitted with tweed. But the most noticeable accessory within the collection was Browne’s anchor logo that loosely resembled Indian maang tikka jewelry. Overall, the collection aptly felt like a Pride celebration with sexy menswear looks that riffed on a garment typically associated with womenswear. It’s likely only a matter of time until we see more celebrities, like basketball star Shai Gilgeous-Alexander who walked in the show, reveal a little more skin while making strides in Browne’s titillating wares. —Lei Takanashi
Bianca Saunders
When we interviewed designer Bianca Saunders in 2019, she was clear about her goals. Saunders, who is British-Jamaican and received an MA from the Royal College of Art, said she eventually wanted to follow in the footsteps of Kim Jones and Alexander McQueen and lead a luxury house. Since saying that, her profile has continued to increase. She won the 2021 ANDAM Fashion Prize, which has helped her solidify a spot on the official Paris men’s calendar for the last couple of seasons, and was shortlisted for the LVMH Prize in 2021. This season she drew from her Jamaican heritage, which was titled “Hard Foods,” a term used to describe starchy foods like plantains, yams, and green bananas that are staples in the Jamaican diet. They are hard but turn soft once you boil them in salted water. This inspiration resulted in the mixing of hard and structured with soft and fluid. Saunders presented boxy denim sets alongside silky tops and bottoms that are meant to be an alternative to an evening suit. She added a graphic element to the line with matching shirts, trousers, and jackets covered in a psychedelic check print. She rounded the collection out with drapey knits and stiff bonded wool jackets and trousers. Saunders has a skill for updating menswear basics with new details that lend them a hand crafted feel. With this collection she added subtle draping to shirts and knits, oversized pockets to jackets, and front slits to jeans. Saunders continues to bring her distinct touch to menswear and provide a point of difference.—Aria Hughes
Winnie New York
Designer Idris Balogun, who launched Winnie in 2020, looked to paintings from Angolan artist Alida Rodrigues when creating his Spring/Summer 2023 collection. Rodrigues is known for updating old photos from the 1800s with botanical illustrations as a way to reconsider history and its widely believed narratives. With the collection, titled “Cold Feet,” Balogun, who’s trained on Saville Row and held stints at Burberry and Tom Ford, asked the question: “Can we transcend the way we perceive the character and life form that is fashion, can clothing be perceived in new ways?” He attempted to answer this question by designing beautifully constructed menswear with slightly off kilter proportions and focusing on fabric innovation. He worked with a mill in Italy to plant and produce linen, which makes up half of the collection (it’s a more sustainable choice that requires less resources than cotton). This translated to hoodies, shirts, and wide-leg trousers made from linen that was hand dyed to create a moody yet bright palette of purple, pink, and indigo blue. These pieces were supplemented with knits made from light cashmere and mohair along with suits coming in updated, modern silhouettes. Balogun, who won the LVMH Prize’s Karl Lagerfeld Award earlier this year, is steadily building a collection that’s as beautiful as it is thoughtful.—Aria Hughes
Namacheko
In the show notes, Namacheko designer Dilan Lurr said: “In many ways this really feels like my debut show, like a tabula rasa. And my tabula rasa is in the Middle East. It’s Kurdistan and Iraq, where I am from.” Lurr, who started Namacheko in 2016, has always mined his heritage to create his collections, but this season the message, and clothes, felt particularly poignant. Lurr looked to Kurdish women in the mountains, Arabic women in Basra, and the farmers in Iran to build out this line, which was characterized by rich shades of plum, sienna, navy, army green, and a neon green along with updated silhouettes that didn’t feel overwrought. Polo knits came in at the waist and extended with an asymmetrical hem, shirts and jackets featured slits that were adorned with bead and hook details; and coats were updated with fabric harnesses. It was a details driven collection that showcased Lurr’s ability to distill his ideas and heritage into beautiful garments.—Aria Hughes
LEMAIRE
Lemaire’s show took place at the Musée des Arts et Métiers in a space that could have either been a train hall or a movie set. Instead of having a typical runway show or a static presentation, the models conversed among themselves in different vignettes or scenes with music from Ana Roxanne playing in the background. It was hard to distinguish between who was in the show and who wasn’t. There were models standing on the steps as the soft natural light showcased their all cream and beige ensembles. The wore Lemaire’s refined pieces: one model wore loose trousers, a shirt and a trench coat while the other wore a collared sports coat layered over a blazer. The light and loose layers extended into the rest of the collection, with models gathered in front of a window wearing cocoa-colored shirt dresses with a tie at the waist, shirts with voluminous sleeves, cropped trousers and and roomy suits. In another section models wore pieces covered in a bold, dark, tropical print. But pieces got lighter in another scene, with models wearing airy cotton parkas, shirts, and pants with ankle ties that came in dusty hues of pink and baby blue. Designers Christophe Lemaire and Sarah Linh Tran have managed to make sophisticated, well-made pieces not only feel accessible, but also necessary.—Aria Hughes
Y/Project
Glenn Martens, the designer behind Y/Project, has the ability to trick and delight the eye, turning his next level ideas around garment construction into actual products that feel fresh but also museum worthy. That was the vibe for his Spring/Summer 2023 collection, which he presented on a long, raised runway made of gravel, which forced models to walk slowly so the audience could fully take in his creations. The show notes said he wanted to create illusions and present a game of real and fake. This translated to slim denim jackets that looked like cardigans, white T-shirts with a trompe-l’œil print of high waisted jeans and a belt; tank tops with transparent nylon straps that make the piece appear as if it’s floating; and blazers printed with oversized lapels that look like denim. Leather was a big part of the show, and it showed up as bomber jackets with distressed details and pants with belt loops detached from the waist. He closed out the show with tailoring, which was loose with new takes on collars and lapels and jackets with snap details. Accessories are another strong suit for Martens, and they ranged from large middle finger up earrings to wired belts that looked as if they were suspended in air. The collection also included a second capsule of trompe-l’œil pieces with the Jean Paul Gaultier brand. It was a mish-mash of ideas brought together in a way that only Martens could properly execute.—Aria Hughes
Dries Van Noten
After not showing a physical men’s show since January 2020, right before Covid-19 swept the globe, Dries Van Noten was in the mood to celebrate, and he looked into different movements and subcultures for inspiration. From the Zazous movement, which took place in Paris during the 1940s, he referenced their uniform—oversized suits and long, greasy hair—to present pinstripe double breasted suits and fluid shirts that were sometimes styled with an elongated swath of fabric that hugged the waist and hips. From the Buffalo movement in London during the 1980s, he pulled from the mix of masculine and feminine, showing lingerie-inspired tank tops, and a sleeveless parka belted at the waist. From the Garage scene, which informed the parking garage rooftop venue, there were graphic prints with a DVN motocross inspired logo that showed up on T-shirts and shorts. It felt like quintessential Dries, but also an attempt to broaden his audience and add even more fans to his cult following.—Aria Hughes
Rick Owens
Returning to the Palais de Tokyo to show his Spring/Summer 2023 collection, Rick Owens brought us along on his recent journey to Egypt, where he found inspiration in the country’s rich history and distinct cultural aesthetics. Titled “Edfu,” after the Ptolemaic Temple of Horus site, Owens’ collection reflected the permanence of Egyptian structures and relics that have withstood the test of time, while exploring the notion that the contemporary issues we face are but small moments in the grand scope of history. Backdropped by a crane dropping three fiery, metal globes into the venue’s fountain, the show was a colorful affair. Models wore lustrous pieces like mica-colored cargo pants paired with iridescent turtlenecks, hooded tulle kaftans in bright hues of lemon and fuschia, and a shimmery vest that resembled scaly fish skin. In terms of garment structure, Owens explored technical wear by incorporating textiles like Dyneema, which is considered the strongest fiber in the world. Glycerin-treated leather also appeared on the runway, giving some of the trousers and vests a translucent effect. On a few select pieces, Owens worked with Paradoxe, a Parisian label known for unweaving denim to produce fabric akin to lace. Overall, the show was a feast of delicious textures, dystopian silhouettes, and a thought-provoking premise. In other words, a classic, other-worldly Rick Owens production.—Alessandra Maldonado
Loewe
Loewe’s Spring/Summer 2023 collection was a congregation of nature and technology. Creative Director Jonathan Anderson juxtaposed the natural and digital worlds through sprouted fabrics, small screens, and tech accessories. The Spanish fashion house tapped textile bio-designer Paula Ulargui Escalona to sow woven handbags, sneakers, sweatpants, and more, with chia seeds and cat’s wort. It took 20 days for the greenery to fully blossom, during which the pieces were placed in a polytunnel to be monitored and watered regularly. While the sprouted pieces made their way down the runway, some models donned wired headphones, digital face masks depicting scenes of nature, and various pieces dotted with small screens playing videos of fish swimming, blinking eyes, and birds flying through the air. The collection was a reflection of contemporary men’s fashion elevated by Anderson’s quirky pragmatism. We saw the debut of bomber jackets and hoodies crafted from supple leather, leggings banded with the Loewe logo, a series of overcoats, along with footwear like leather bungee cord boots, and the return of the frayed denim sneakers from Fall/Winter 2022. Easily his strongest Loewe menswear collection to date, Anderson is one of fashion’s greatest innovators.—Alessandra Maldonado
Marine Serre
Taking inspiration from the Olympic opening ceremonies, Marine Serre’s Spring/Summer 2023 show took place at an athletic field in Paris where models triumphantly walked as if part of the most fashion-forward sports team you’ve ever seen. Departing from a traditional menswear show, Serre opted for casting models of various ages, genders, and sizes—a rarity at Paris Fashion Week. The collection was presented in distinct stages—first, models walked on the 400-meter circuit in black swimwear pieces made from recycled fibers. Then, a slew of patchwork-denim looks emblazoned with Serre’s infamous moon print made their way onto the runway. Jorja Smith made an appearance here, styled in a striped denim dress punctured with silver rivets and adorned with petite, dangling charms. From there, matching terry-cloth sets were followed by piped dresses fabricated from upcycled towels, head-to-toe Barbie-pink ensembles, a floor-length army green coat spattered in pockets, and Versace-esque bodysuits printed with scans of antique gold jewels. Similarly, Serre’s latest jewelry endeavor made its runway debut as models accessorized with pieces made from upcycled utensils, pearls, and gold. The show closed with Madonna’s daughter Lourdes Leon donning a moon-printed catsuit styled with countless strands of vintage gold chains draped around her neck and over her waist, with one in particular spelling out “SOUL,” referencing the show’s name, “State of Soul.” Marine Serre’s SS23 show was emblematic of the young brand’s mission thus far: creating eye-catching designs with inclusivity and sustainability in mind.—Alessandra Maldonado
Celine
Celine closed out the week, and it was quite an event. Held at the Palais de Tokyo, where designer Hedi Slimane first showed with Dior Homme 20 years ago, the venue was flanked by young fans hoping to catch a glimpse of K-pop stars Lisa Manobal from Blackpink, V (Kim Tae-hyung) from BTS, and Park Bo-gum, a Korean actor. They roared as the stars arrived and posed for pics before coming inside the venue to be seated, delaying the start of the show. The collection, and venue, lived up to the rock star aesthetic Slimane has cultivated over the years. Large letters spelling Celine in lights greeted attendees before they went inside and saw a gold reflective mobile designed by Slimane and inspired by American sculptor Alexander Calder hung over the runway (it moved up and down throughout the show. Slimane worked with artists Renata Petersen, whose work titled “Dysfunctional Bauhaus” was also the title of the collection, and David Weiss, printing their works on the garments. Slimane stuck to what he knows, sending thin, male models down the runway wearing clean suits with slim ties, moto jackets embellished with hanging pearls and rhinestones, and quilted, reflective bomber jackets. Jeans were skinny and distressed, while shirts and knitwear featured palm tree prints. Slimane has created a world and held to his vision while welcoming different collaborators along for the ride, and whether it’s your thing or not, the formula works.—Aria Hughes