The Louis Vuitton show was held in its new space on 103 Avenue des Champs-Élysées, which is still under construction. You can’t miss it: standing next to the brand’s flagship store, the new building’s scaffolding is decorated to look like a Louis Vuitton steamer trunk. “The future of this place will be where we unite different expressions of the brand, commercial of course but also cultural, exhibitions, hospitality,” Louis Vuitton women’s artistic director Nicolas Ghesquière told Nicole Phelps, global director of Vogue Runway and Vogue Business.
At Dior, artistic director Maria Grazia Chiuri worked with Italian artist Elena Bellantoni on the show set, which featured feminist slogans set against neon yellow and pink — in stark contrast to the black and white collection. Models walked with attitude in front of 1,400 guests.
Across Paris, the collections presented a dichotomy. While a few went for viral moments and showpieces, many brands pared back their show formats and collections, as the quiet luxury trend continues amid ongoing economic challenges in the US, Europe and now China.
Isabel Marant sent out a collection that was in line with the DNA of the brand but with a softer touch. Think breeziness, muted colours, soft tailoring. “We’re in a new era where we want clothes, but we want the right quality pieces that will last,” Marant said ahead of the show.
Halfway through fashion week, Phoebe Philo — known for her minimalist aesthetic — set a date for the launch of her first own-brand collection online: 30 October. In the meantime, there were whispered reports of an invite-only Philo-era Celine sale in a central Paris hotel suite. “It was very high-quality stock, the prices reflected that, but everything was being snapped up,” one attendee described.
At Carven, Louise Trotter’s well-received debut featured clean silhouettes, sheer skirts, voluminous tops and jackets, as well as flat mules. It was about making “real clothes,…
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