Lila Moss wears a creation as part of the Vivienne Westwood Fall/Winter 2024-2025 ready-to-wear collection presented Saturday, March 2, 2024 in Paris. (Photo by Vianney Le Caer/Invision/AP)
PARIS (AP) – On a rain-soaked Saturday at Paris Fashion Week, the luxury world saw a spectacle of contrasts, where the audacious spirit of punk melded with historical elegance. Displays blurred the lines between rebellion and refinement, presenting collections that navigated through time – evoking medieval serfs with a modern twist and embracing minimalist aesthetics reminiscent of the 1990s.
Here are some highlights of Saturday’s fall-winter 2024 shows:
WESTWOOD: NATURE, SERFS AND A DASH OF A PUNK
Braving the persistent Parisian drizzle, K-pop star Sandara Park led the pack at Andreas Kronthaler for Vivienne Westwood, captivating the audience in a punk-tinged corset adorned with pearls and brandishing a “Noblesse” sign to the flurry of camera flashes. The show started with an eccentric performance in the brightly lit atrium, where musicians conjured natural sounds amid tree stumps, setting a whimsical tone that mirrored the collection’s historical and rebellious spirit.
The opening ensembles transported the audience back in time amid contemporary fusions, channeling the essence of a serf, the medieval agricultural laborer. The designs cleverly incorporated leggings, jockstraps resembling codpieces, mystical talismanic pendants, and tear-shaped cutouts on thick knit sweaters that conjured up tales of yore.
Both male and female models strutted with a swagger, embodying the iconic Westwood 80s punk ethos through standout pieces like a large blue conical bra corset and garments with assertively large shoulders. The runway was a canvas for eccentric, eye-catching looks that melded contrasting historical references – like the standout silver top with a a breastplate that evoked King Arthur and his knights and a disco sheen reminiscent of Britain’s Glam Rock heyday.
This collection, a blend of audacious punk spirit and a nod history, reaffirmed Westwood’s mastery in fusing diverse influences, crafting a show that rebelled throughout.
CARVEN DESIGNER’S SOPHOMORE
Elegant sophistication, minimalism, and a hint of nonchalance continued to define Carven. The storied house, originally founded by Marie Louise Carven in 1945, evolved under the guidance of various male creative directors since its reboot 2009 and 2018. Stepping into this lineage as the first female leader since its reboot, Louise Trotter presented her second collection Saturday, skillfully weaving together the brand’s 1950s origins with a minimalist aesthetic reminiscent of the 1990s.
The show opened with a statement piece: a brown round-shouldered coat that was both loose and indicative of the new direction Trotter is steering Carven towards.
This piece set the stage for a collection with dimensions and perceptions. A striking dress featured a trompe l’oeil effect, cleverly designed to appear two-dimensional. An oversized gray jacket, casually draped over bare skin, was a prime example of the collection’s subtle allure, revealing skin in a way that did not compromise on sophistication.
