Dear reader,
\xa0
Welcome to our fashion week briefing, compiled with on-the-ground insights from Vogue Business and Vogue Runway editors that you won’t find anywhere else. Stay tuned for our Copenhagen Fashion Week coverage.\xa0
\xa0
Despite the icy temperatures (I wore skiwear and layers) and sluggish economic climate, there was a sense of positivity at Paris Fashion Week men’s this season.\xa0
\xa0
Last season saw ashift back towards tailoringafter years of streetwear dominance. For Autumn/Winter 2024, everything goes. “It’s more about the archetypes of masculinity: the office boy at Prada, the cowboy at Louis Vuitton, the skater boy at Loewe, the apocalyptic warrior at Rick Owens,” says Vena Brykalin, editor-in-chief ofVogueUkraine.\xa0
\xa0
As is the new custom, Paris men’s started with the Louis Vuitton show, whichwas inspired by American Westerns. Think chaps, cowboy shirts and details like turquoise beading. It was a smaller format than Pharrell Williams’s debut show in June (around 1,200 guests versus 1,800), but Louis Vuitton once again mixed the worlds of fashion, music, entertainment and food. (A delicious barbecue by celebrity chef Jean Imbert helped to warm up the guests.)
\xa0
“We’ve had a gender-fluid era, and we’re returning this season to a more classic representation of masculinity: cowboys at Louis Vuitton, American workwear, tailoring in all forms, jacket variations at Junya Watanabe, suits at Yohji Yamamoto,” observes Matthieu Morge-Zucconi, menswear journalist at French newspaperLe Figaro. As an example of the workwear trend, he noted that both Louis Vuitton and British designer Grace Wales Bonnercollaborated with Timberland.
\xa0
Vogue Runway’sLuke Leitch says: “There was definitely a perception of classic masculinity expressed through tailoring, which could either be interpreted as a shift in gender representation or a conservative move as a reaction to what is being widely reported as a downturn in the luxury market. However, it was interesting to note that those companies that have been performing well recently, such as Zegna, Brunello Cucinelli and Hermès, were slightly more adventurous than usual.” At Hermès, artistic director Véronique Nichaniandescribed the collection as “dandy chic”.\xa0
\xa0
The season took place in achallenging climatewith rising costs, the Israel-Hamas war, and overall deceleration of the industry’s growth in all regions. “This winter was complicated for everybody,”Paul Smith toldVogue Businessahead of his show.\xa0
\xa0
The higher end of the market is faring better in the current economic climate, as high-net-worth individuals are less affected by the downturn. Designers are taking notice: Smith used luxurious fabrics this season, like cargo pants in Loro Piana fabrics; Ami Paris presented sophisticated silhouettes with no logo (except on the handbags). The collection “marks a transition by reaffirming how Ami expresses elegance and refinement”, founder and creative director Alexandre Mattiussi said in the show notes. At Dior, Kim Jones presented for the first time men’s couture for the house. It was accompanied by Prokofiev’s dramatic music, a highlight of the week.\xa0
\xa0
“The prevailing focus this season is on wearability,” says Sophie Jordan, menswear buying director at luxury e-tailer Mytheresa. That said, a playful and sexy masculinity emerged at some shows, notably at Loewe where Jonathan Anderson was among those to embrace theno trousers trendthat has proliferated on the womenswear catwalks, plus bare torso. Another highlight.\xa0\xa0
\xa0
Auralee, which is known for its high-quality fabrics, made its first appearance on the Paris runway calendar this season to widespread praise.Vogue Runway’s José Criales-Unzuetacalled it a brand “on the rise”. Other debuts includedKartik Research, the Indian brand that has just undergone a rebrand and is poised for growth.
\xa0
ForVogue’s chief critic Sarah Mower, Martine Rose’s surprise show in Paris was a standout. She wrotein her review: “In difficult, fearful periods such as the one we’re living in, fashion’s instinctive response is to go sober, safe, and stick to tried-and-tested ‘commerciality’. The trouble with that is that it causes paralysis, dullness, and a downward spiral in desirability. With this collection, Rose went completely in the opposite direction — for the elevation and elation of dressing; for creativity and the high ground.”
I’ll be discussing men’s season withVogue Business’s Lucy Maguire tomorrow at 5pm GMT on our LinkedIn Live.Join us there.\xa0\xa0
\xa0
Thanks for reading.
