Paris Fashion Week Review: Rick Owens, Schiaparelli

Photo-Illustration: by The Cut; Photo: Courtesy of OWENSCORP, Schiaparelli, Chloe

Influencers have largely replaced groups at performances, but at Rick Owens, audiences still have a pleasant feeling about the groups. However, they were taller than the other guests, thanks to Owens’ super tall background. Dressed in black, with their legs elongated by shoes and some Owensian frills, they tend to look like an exotic species of crane. But the main difference in this buffet world is that an Owens band almost always resembles him. He wears normal clothes. It is not an outfit, as designer clothes are often favored by fashionistas.

Owens not only licensed thousands of people to flaunt their weirdness, but he continued to enrich his aesthetic. On Thursday night, on a platform built over the rim of the giant fountain behind the Palais de Tokyo, with a blast of water – and Siouxsie and Banshees on speaker – Owens sent out a pair of pleated skirts, continued. followed by a zippered jacket skirt, which looked like latex. It is actually leather made translucent by the tanning process. As he put it in the notes to his show, the material, to be precise, “turns the wearer into a 700-million-year-old jellyfish.” Succinct!

Rick Owens.

Owens often controls the shape of his shoulders. This season, coats have peaks that sit up high like saddle horns. One source of inspiration is ancient Egypt; another is a Hollywood biblical epic that he recalls watching as a young boy in California. Taken together, they create a glamorous if slightly campy look, washed in fuchsia, pink and gold. For me, the most eye-catching styles are the slightly rounded zipper jackets that are transformed into mini skirts; tulle babydoll dress; and another group of tunics and tunics made from what looked like thin strips of black leather sewn into tulle. The shape of the miniskirts is striking: They look like crumpled metal. And some other long styles have glittery black backs or caps. The show wasn’t as visually intense as last season, but it added to his aesthetic, and the study of fabrics was impressive.

And why Egypt? Owens says he likes to retreat there. “Lying down on the ground with the Valley of the Kings in sight is a very soothing view,” he said. In short, modern discontents seem petty in the face of so much history.

Photo: Courtesy of Chloe

Gabriela Hearst thought of nuclear fusion. That’s not what I thought when I walked into the dark Chloé show a few doors down from the Ritz. I think the designer evoked a rage, with flashing beams of light. But I should have known better. A rampage is not Hearst’s style. Her press notes offer lengthy descriptions of fusion energy and how it can help the planet and humanity. And one day for sure, but in the meantime, she might consider re-energizing her collections. Chloé has always been a youthful and sparkling label, but Hearst’s clothing and accessories – white knitted tube dresses with side-cuts, leather jackets sewn with whips, tank tops with lace-up beanies – look must not be bland.

Photo: Getty Images

A few blocks away, Marie-Christine Statz presented her Gauchere collection in broad daylight, on a public walkway. Statz’s clothes are always sewn straight, without the help of ancients or scientists; they serve the same purpose as The Row but without the serious fashion sense. She showcases well-cut oversize suits, washed or printed jeans, and cotton or jersey dresses with random creases in the fabric with shoes covered with stretch heels to match the outfit. It’s a funny but effective styling move.

Her style isn’t original, but she’s definitely got her mark, and she’s one of those rare designers whose outfits make women of all ages look eye-catching and interesting.

Photo: Courtesy of Schiaparelli

Schiaparelli’s creative director, Daniel Roseberry, used this season to expand on the company’s knitwear and denim designs, including a jacket embroidered on the back with golden sunshine (a reference to the style) Elsa Schiaparelli’s famous way) and updated the styles to fit in a more modest size than the hardware. Although Roseberry did a lot to gain more attention and business for Schiaparelli, in just three years he was well aware of the possibility of getting stuck in a successful model. As he told me the other day, “Elsa is more than Surrealism.”

So does Roseberry. For the evening capsule collection, he removed nearly all the Surrealism traps of previous seasons and simplified the cuts, using silk and velvet tops to create the dresses. The skirt looks fluid, consisting of a black pleated all-over and a beautiful loose jumpsuit in a red silk shirt with metal link straps.

Photo: Courtesy of Schiaparelli Paris Fashion Week Review: Rick Owens, Schiaparelli

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