DA MAN - Style - - Report -

There is con­tin­u­ous com­pe­ti­tion among the world’s fash­ion capi­tols to be the big­gest, the most in­flu­en­tial and so on. Paris, however, has long main­tained its po­si­tion at the top. With a unique, lux­u­ri­ous per­sona and a strong iden­tity, the City of Light of­fers new in­spi­ra­tions and a fresh feel­ing of “must have” via Paris Men’s Fash­ion Week. And it is this con­stant chase for what’s new— from brands to designers— that will al­ways drive peo­ple to Paris.

There is, of course, more than meets the eye as peo­ple and brands con­tem­plate how to cre­ate new ex­cite­ment. In this case, Louis Vuit­ton gave us per­haps the best ex­am­ple. In­spired by artists like Warhol and Basquiat, the brand’s menswear show dur­ing this fash­ion week be­came a cel­e­bra­tion of New York style in all its eclec­tic, artis­tic and aes­thetic glory.

This fall/win­ter season also marked the first col­lab­o­ra­tion be­tween Louis Vuit­ton and Supreme— the street-wear brand founded in 1994 by James Jeb­bia. The re­sult was a cap­sule collection com­pris­ing cloth­ing, ac­ces­sories and jew­elry. From parkas and baseball jackets, to denim outerwear, baseball jerseys, hood­ies and more, all of the pieces stood along­side Louis Vuit­ton’s own wares while bear­ing the new Mono­gram vari­a­tion com­bined with Supreme’s iconic box logo.

It didn’t end there, however, as in­spired by this fu­sion, Louis Vuit­ton cre­ated yet an­other se­ries of ac­ces­sories and bags. With con­trast­ing shades of Epi leather and Mono­gram can­vas, these pieces per­fectly em­bod­ied the brand’s leg­endary Parisian savoir- faire and its new in­ter­pre­ta­tion of New York’s street styles.

Mean­while, Lu­cas Ossendri­jver from Lan­vin goes in the op­po­site di­rec­tion. He left one sim­ple word, “nothing,” as a clue to his collection. “This season, al­though the de­signs are very stud­ied, they are also eas­ier, more rooted in re­al­ity where nothing is uni­form,” the famed artis­tic di­rec­tor elab­o­rated. “There is no elab­o­rate concept, no dec­o­ra­tive ef­fect.”

The real high­light of Lan­vin’s fall/win­ter collection was how Ossendri­jver sim­ply fo­cused on the essence of de­sign, con­struc­tion and pro­por­tions. A close- fit­ting suit with nar­rowed shoul­ders was con­tracted even fur­ther; over­sized sweaters were short­ened; check shirts, duf­fle coats, chino pants and parkas were all re­worked; collars were mod­i­fied to cre­ate a subtle draped ef­fect; and fi­nally, an over­sized coat was vis­i­bly trimmed. More than ever be­fore it’s the work on fab­rics, the tech­nique, the play on pro­por­tions and subtle shifts that al­low these ev­ery­day items to re­ally shine.

Speak­ing of which, Her­mès un­der Véronique Nicha­nian also played with pro­por­tions and vol­umes, with spe­cial at­ten­tion to the ma­te­ri­als and crafts­man­ship. The French mai­son’s at­ten­tion to de­tail was par­tic­u­larly ev­i­dent in the choice of fab­rics and the com­po­si­tions of the gar­ments. The collection starts with patch­work prints on wool sweaters, cashmere coats and sheep­skin sweaters with sheared mo­tifs, then moved on to flan­nel week­end bags and a blast of the past with over­sized fanny packs—which the brand dubbed Ci­tys­lide mes­sen­ger bags.

“There is no elab­o­rate concept, no dec­o­ra­tive ef­fect” op­po­site page from one of the most highly an­tic­i­pated col­lab­o­ra­tions this season: supreme’s name em­bla­zoned on a louis vuit­ton scarf

Fur­ther­more, Her­mès com­bined the ro­man­tic nu­ances of dou­ble- breasted suits with the rock twist of skinny leather pants. The re­sult­ing “rock- man­tic” pieces don’t re­ally fol­low a spe­cific theme, but can eas­ily be worn for just about any oc­ca­sion. After all, it’s Her­mès we’re talk­ing about. The brand re­mained faith­ful to its classic and min­i­mal­ist spirit and it cer­tainly looks like ev­ery­one’s thrilled about it.

On the other end of the spec­trum, Givenchy made a statement with vibrant pieces adorned with pre- Columbian art­work. “I rein­ter­preted the Amer­i­can West with my own eyes,” said Ric­cardo Tisci. This, by the way, wasn’t a typ­i­cal Tisci show. For Givenchy’s fall/win­ter ’ 17 collection, he moved away from last season’s darker nu­ances and instead cre­ated some­thing pos­i­tive, op­ti­mistic and even en­thu­si­as­tic.

Tisci de­scribed the collection as an ode to the Amer­i­can West as seen through the eyes of a child. From knitwear wrapped with pre- Columbian pat­terns to por­traits of Na­tive Amer­i­cans em­bla­zoned on T- shirts. The house’s sig­na­ture stripes were com­bined with bold tribal- in­spired mo­tifs on a se­ries of sweaters, navy jackets and coats fea­tur­ing over­size brown buttons. That last ad­di­tion threw the gar­ments’ classic pro­por­tions off- bal­ance with ex­tra-wide, V- shaped neck­lines and ex­posed shirt collars.

All in all, this time around in Paris’ fash­ion show­case, lux­ury was not found in dec­o­ra­tion, but in simplicity. Or, more to the point, in in­ge­nious work on shape and con­struc­tion. As is usual with Paris Men’s Fash­ion Week, this is a di­rec­tion that will be cel­e­brated all across the globe for the months to come.

“Ev­ery­one wants some­thing new and com­pletely fresh”

left to right givenchy’s ode to the Amer­i­can West through col­or­ful stripes; Lan­vin’s play on pro­por­tions on a suit and check shirt; a model hold­ing Louis Vuit­ton X Supreme mono­gram trunk Op­po­site page A Ci­tys­lide waist pack and com­plete look from her­mès

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