Paris shone on the catwalks with great energy. On the seventh day of this Fashion Week dedicated to women's ready-to-wear for autumn-winter 2024/25, the designers distinguished themselves with fashion that is both creative and wearable, each with their own vision, by Duran Lantink to Ottolinger and Atlein. , while Mugler closed out Sunday in style with an ultra-sexy fireworks display.
Creative director Casey Cadwaller put together a spectacular show, with a set that constantly changed and recomposed, with no less than four curtain falls, smoke bombs, pyrotechnic effects and lasers. Without forgetting the drones and a robot camera, which he followed the models closely. It was the kind of big show that fashion people love.
On the menu were ultra-sensual and provocative outfits for all body types and sexualities, with a majority of all-black looks, from transparent veil dresses to 100% leather outfits that combine thigh-high boots with a draped minidress, to bondage outfits with body-hugging strappy dresses and ultra-thin bras that revealed everything.
For evening wear, tuxedos with deep scallops or asymmetrical necklines were revised. The long black velvet dress was hiked up to one thigh to reveal her leg. Latex boots were paired with sheer chiffon draped bodysuits, while Monsieur flaunted her boots and tight leotard under his oversized black coat.
Minidresses covered in satin or silk added a glamorous touch to the ensemble, as did an ultra-short fur coat with long wavy red hairs that 80s model star Farida Khelfa styled with her colleague Eva Herzigova in a minidress. black velvet draping. .
On Sunday at noon, Duran Lantink brought a breath of levity to Paris Fashion Week with her fun and quirky style. For his second show on the official calendar, the Dutch designer continued his work with sculptural garments in the Niki de Saint Phalle style, with lively volumes that reshaped silhouettes into soft curves.
For next winter, the emphasis is on knitwear and warm wools, infusing the entire collection with a cozy spirit, while mixing a formal vein with a fresher, sexier style. On the one hand, the classic sky blue shirt billowed in the back, while the tailored jacket billowed to the hips. On the other, dazzling gold pants made their presence felt, while white jumpsuits shaped the body.
The wardrobe for the coming winter also included mini or hip-slit knitted dresses, micro vests, pudding skirts, cocoon jackets with puffed pectorals and jumpsuits with oversized cups.
The star piece was the fine ribbed bootie sock, which reached the thighs. Jacquard sweaters were also revisited with a surreal touch. Cut cleanly at chest height, the sweater was transformed into a two-piece set, with the collar, top and arms as a long-sleeved crop top, and the bottom of the sweater transformed into a mini skirt. The quilted cardigans, thick sleeves and fur-lined boots were reminiscent of chicken down.
Futuristic nerd glasses without lenses, equipped with headphones, put the finishing touch on this whimsical silhouette.
For next winter, Ottolinger continues its foray into a more formal, almost haute couture universe, without abandoning its work of destroying and recomposing garments, always with that organic and experimental breath that has characterized the brand since its launch in 2015 by the Swiss designer Cosima. Gadient and Christa Bösch.
It is the world of the office and the business woman, outlined last season, that serves as the common thread for this new collection. The brand's loungewear is still present, with leggings, tops, t-shirts and gray cotton or wool knit sports pants, combined with thick burgundy regimental ties and the typical light blue shirt, twisted with a collar and cuffs. twisted ones that acted like belts.
With round glasses on her nose, notebook and pen in hand, the Ottolinger girl combines a small navy blue peacoat with loose gray flannel pants. She plays the bourgeoisie by throwing the fox stole over her shoulders or with her tweed skirt suits, which fray into strips. In her hand she holds a small white shopping bag with elegant black edges and with the brand name.
By evening, a fitted jacket was completely torn, exposing entire sections of the lining. The shoulder of a banker's jacket was open. Another jacket with gathers and darts had its proportions revised. A pantsuit was cut down and reassembled into a dress. Other suits were displayed in long trains, also in the lively and energetic style of the two designers, characterized by ribbons and straps fluctuating around the silhouette.
At Atlein, Antonin Tron is expanding his vocabulary with new pieces and materials. Long, draped, ruched knit dresses remain a staple of his wardrobe, enhanced this season by balaclavas and long zippers that wrap around the body, dividing it from neck to toe. But the designer moves away from evening wear to offer more garments with sleeves and pants with a more urban and sporty spirit.
“This season I was inspired by sci-fi heroines. In particular, the movies Under the skin by Jonathan Glazer, Alien and annihilation By Alex Garland. “She is a powerful woman, ready to fight,” says the designer backstage. For next winter, his heroine will be dressed in small military bombers, thick suede-like leggings, zippers all the way up the front, hoodies made of light fabric, jersey and sets of waterproof coated wool, which looks like old leather.
When she returns from a mission, Atlein's space warrior sheds her high-waisted, padded nylon pants, unbuttoned at the side like a space suit, to don sparkly star-queen dresses like these shimmering mesh fabric dresses crystal, delicate transparent knit suits or metallic mercury. The snakeskin-look sequin dresses sparkle intermittently under the light.
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