Three new generation designers who succeeded Saturday shows for McQueen, Ann Demeulemeester and Ludovic of Saint Servnin. We find this next fashion wave.
McQueen: Mineralogy and mode
Sean McGirr invited the guests to his third collection for McQueen's house to the Géology ET de Minéralogie Gallery. Like the scientific curiosities contained in space, the collection felt a little time, even dusty.
McGirr clearly has many design chops; It is cut with ingenuity and can take advantage of the Gothic and Celtic DNA that supports the McQueen brand. But as a show, this really did not take off.
The central idea of Sean, born in Dublin, was Dandy's rebirth, a word of Scottish etymology that denotes a deeply elegant man, although perhaps one too obsessed with personal vanity. The young Irish designer, on the other hand, played the Dandy as a liberating concept, where the act of dressing was an expression of individuality.
Respecting the roots of the house in Savile Row's tailoring, McGirr began with the most clear costumes, tail vessels, mini rows and eduardian redinges.
Before lost slow but safe in night clothes, bouffant fur fur capulos layers that wrap dresses with savings of the wild west, or a lace carelessness dress that shows panties and bra that neither mcqueen nor her successor Sarah Burton would have contacted.
His dark pink dress with flyers or white satin, finished with a tulle cloud on the shoulder, had a certain aura. But despite the intelligent launch and the sound band Kicky, which included the soft boys, the mood was flat in the end.
Following Lee McQueen or Sarah Burton would always be a monumental job. And for your credit, McGirr clearly has good management in the codes of the house. But the days when Alexander McQueen was the best fashion show seem ancient history, just like prehistoric stones in this gallery.
Ludovic de Saint Servnin: Femme Transgiviva Fatale
In his day, Ludovic de Saint Servnin was one of the best fashion designers. This Saturday was one of those days when its mixture of transgression, tailoring, sexual attraction and sizzling was perfectly proportionate.
Presented inside an office building of the 60s in Montparnasse, this autumn-winter collection 2025/26 starred in the key trend of Paris: the return of the fatal woman.
Mata Haris, eating man, marched through dry ice in power jackets with depth hat tops cut in crystals or cocktails with the body with a lizard full of sizzling.
For the off -schedule, the seducers appeared in skirts and bra nylon nylon fasteners, finished with steel zippers or Faux Python. In case you have not received the message, one sorceress passed through a PVC bra and pants with boots to the thigh that are used under a black trench left open.
Ludovic will always love a little transgression, and in this mixed show, he sent the boys on Thursday made of gray flanks with zipper or green PVC with bougies, their nipples almost appear every time.
Driven by a sensational soundtrack that mixes the backward and popgoth, this was a powerful statement, which occurred six weeks after the Saint Saint Saint Saint Saint Saint Senter Program for Jean-Paul Gaultier.
Now that I think about it, if someone needs to find a moderator to relive a venerable French house, the name of Ludovic de Saint Servnin should be at the top of the list of candidates.
Ann Demeulemeester: Disciples of the Devil in the Marais
Suddenly, and quite spectacularly, Ann Demeulemeester has become an important show again.
We thank for that to the creative director of Ann, Stefano Gallici, whose latest collection managed to extract the poetic emotions of the brand in a fantastic fashion statement from the United States.
Presented within an old medieval hospital in Marais, full of gills with a fully dressed audience dressed in black and white, most of him made by Ann Demeulemeester.
Gallici took advantage of all kinds of American iconography in an image book that remains in each chair, from an old Georgia O'Keeffe in his garden to Dennis Hopper's photos of the classic cars of the 50s to Abbie Hoffman in Woodstock.
In an era of Trump's decimation of the US government, it is surprising that so many designers are referring to the counterculture of the 1960s. The freedom of those days was backed by the counterculture of that time, the opposite of the attack of the world right against anything that woke up.
The result was a great show, starring an ideal poetic gothic collection entitled “Reference Wall”: Rocker poetics in military, western gun leather stalls, leather leather hats, Crocheted Clint Eastwood Ponchos, black leather coats and three -piece sheriff costumes for a Corsican in Tombstone, Arizona.
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