PARIS — It most likely isn’t stunning that a present of conservatism was seen within the males’s put on reveals right here, a hyperlink connecting storied labels like Dior and Hermès, the place the designers Kim Jones and Véronique Nichanian produced fall collections that highlighted their design chops by doubling down on heritage.
An inveterate and lifelong traveler (he has typically mentioned he works primarily to bankroll his wanderlust), Mr. Jones typically operates inside a geographic thematic. Final season, it was a collaboration with Travis Scott, impressed by the rapper’s Houston hometown. (The gathering was postponed indefinitely following the Astroworld tragedy.) This time Mr. Jones detoured to safer territory and, for a Seventy fifth-anniversary homage to the home at Dior Males, selected as his vacation spot — drum roll — Paris.
Mr. Jones’s Metropolis of Gentle was a conjured as a place of Gallic magnificence and refinement with a set that not solely reproduced the gilded Pont Alexandre III bridge for its backdrop however went on to mine nearly each French cliché within the postcard rack.
Suppose (gorgeously) tailor-made coats of slate or dove grey, some with a difficult draped wrap on the entrance. Suppose blazer coats with white overstitching and lower as if to disclose the selvage fringe of the material. Suppose sling-back suede Birkenstocks patterned on the soles with the Dior emblem. Suppose, for Pete’s sake, berets.
True, the berets have been the work of Stephen Jones, the impressed British hatter who has labored with Dior for a quarter-century. True additionally, vacationer outlets all alongside the Rue de Rivoli nonetheless promote 5 euro variations of this felt pancake on your head. But there isn’t a avoiding the truth that Parisians sporting berets are rarer than Parisians strolling down the road with baguettes tucked underneath their arms.
Ms. Nichanian, too, performs on these French idioms, although at an much more elevated (and pricier) degree. Season after season, she makes garments appropriate for the clientele of a model that began in 1837 as a saddlery and stays a purveyor of products for a conventional carriage commerce. (Effectively, kind of: The corporate’s vaunted Birkin, the Brabus of purses, has now been joined by the Rock, a new and jacked-up model ostensibly for guys.)
The presentation was held in a nationwide storehouse for furnishings and towards a backdrop of projected tapestries from state collections, and earlier than it, Ms. Nichanian spoke to some journalists about her meant “dandy impact.” Conceivably which means a assortment usually pitched towards the youthful guys everybody within the enterprise has been attempting to advance from hoodies to fits. Right here one was rendered in a two-button calfskin with a huge leg that made you want Miles Davis have been alive to rock one. Davis, although, would definitely take a type of silk cashmere scarves Ms. Nichanian substituted for a cravat and knot it outdoors his shirt.
Elsewhere on the roster have been designers with all types of promise, but in addition with positions and concepts. At GmbH, Serhat Isik and Benjamin Huseby produced a finely tailor-made assortment that appeared destined, as common, to affect designers at a lot bigger homes. Whoever solid Virgil Abloh’s closing, and predictably mournful, assortment for Louis Vuitton, as an illustration, should have had an eye fixed on GmbH’s runways.
Variety is a GmbH signature. So, too, are references to Islam, right here within the type of calligraphic texts in Arabic of a variety that Ottoman troopers would tuck underneath their armor as talismans. On the sector on concepts, Mr. Huseby and Mr. Isik constantly confront the tensions between their lived realities as racially blended (Isik is Turkish and German, and Huseby is Norwegian and Pakistani), cisgender homosexual males and the broader tradition.
In contrast to in current seasons, there have been few “unisex” reveals and a specific amount of collective amnesia concerning the objective of upending of gender binaries. That mentioned, the GmbH present contained parts that might initially learn as transgressive (thigh boots worn with shorts underneath crisply tailor-made one-and-a-half breasted blazers) till a viewer recalled that museums chockablock with imagery of leggy Sixteenth-century dudes in pantaloons, codpieces and tights.
“It’s probably the most formal assortment we’ve ever completed,” Mr. Huseby advised Vogue.com. “However I really feel it’s additionally the kinkiest and sleaziest in a unusual approach.”
Hybridity, although of a completely different variety, is excess of a modish buzzword for the British designer Grace Wales Bonner, whose award-winning work has constantly mined the tensions inherent in racial, cultural and sexual intersection. In Ms. Wales Bonner’s assortment, which drew on her expertise of being blended race and of Afro-Caribbean ancestry, there have been options of a wardrobe for a return to a considerably distant area: the workplace. Specifically, a zip-front denim jacket paired with wide-leg cuffed trousers offered a believable resolution to a work uniform. Although the Wales Bonner digital present was offered on each men and women, little about it recommended a lot have to delineate a distinction. Anybody might put on it, and that features the skirts.
After we look again on this unusual liminal interval — not but over the brink of a pandemic — two designers will seemingly stand above the remaining for pure ornery individuality. One is Rick Owens, who, seated on some steps contained in the Palais de Tokyo final week, made the next pronouncement: “Males are pigs.”
His present, titled “Strobe,” was impressed by the designer’s current journey to Egypt and featured fashions sporting hieratic headpieces that have been a cross between a Dan Flavin sculpture and a show panel at Simply Bulbs. In some ways the gathering was transparently industrial. (For all his runway antics, Mr. Owens is a shrewd service provider with a strong enterprise in innocuous knitwear.) Balancing the linked-metal and torso-baring overshirt modeled by Mr. Owens’s buddy Tyrone Dylan have been loads of shearlings and puffers. Some featured Ming the Cruel shoulders impressed by Golden Age Hollywood as filtered via the sensibilities of the Seventies designer Larry LeGaspi. Some had zipped-up executioner hoods.
What’s unmistakably cool about Mr. Owens is how insistently he carves out his personal distinct aesthetic area. The self-described “flamboyant small-town sissy” from Bakersfield, Calif., has taken outsiderness and pushed it into the center of the mainstream. Though talking about this particular assortment, he may as simply have been stating a credo when he remarked backstage, “I’ve determined to go instantly into the Id.”
Likewise, Jonathan Anderson at Loewe has no downside going through off with the dominant tradition. On this case it was the vaporous butch futurism of the “metaverse,” which he vamped with a craftsy assortment based mostly on know-how that was itself as soon as thought of world-changing: fiber-optics.
Mr. Anderson despatched fashions out from a forest of coloured ribbons clad in sparkly bodysuits and sweaters illuminated from beneath with skeins of LED lights. As a funky counterbalance, he confirmed rubbery translucent flasher raincoats worn over what appeared to be Y-fronts; shearling coats with innards uncovered; and T-shirts, their fronts printed with faces, pulled up over fashions’ heads — a fairly direct citation of these created by Matthias Vriens a decade in the past for his label BL33N and bought at Colette.
As would even be true a day later at Nigo’s debut as the new creative director at Kenzo — a joyous presentation of blanket fringed coats, pillowy newsboy caps and Pop graphics drawn from home archives — the optimistic spirit prevailing at Loewe was like trend Xanax, a fast-acting temper elevator everybody might use proper about now.
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