There are sometimes internal struggles in the creator competition that are beneficial to certain groups. The arrival of Pharrell Williams at Vuitton Homme has probably propelled the creator of Louis Vuitton Femme out of his lethargy. It was yesterday at the carrousel, in the square courtyard of the Louvres, which hosted the tents, as in the past, by the very late great Jacques, whom the couturiers had left little by little to present elsewhere, thinking that the center of Paris was not not relevant.

A large transparent marquee imitating for the occasion the Baltard pavilion that Verlaine called the Vulcain laces. But who will have noticed it in this crowd of 4,000 invited people who came to put the neighborhood and the rue de Rivoli in turmoil this Tuesday evening to close Paris Fashion Week.

A collection that presents the best of Nicolas, for a long time, with this chic and futuristic sportswear, which defines his couture which from time to time can be daring. Like this Norfolk jacket from the Duke of the same name, but who, in reality, was called Henry Fitzalan Howard for those close to him, a great fan of hunting before the eternal who ordered this jacket in 1860. Like a study of the spatiotemporal fault in opposing the future and the past, he achieves a visionary approach like the little Jura resident Louis in his time.

Iris Apfel, super eccentric New York fashion icon, Instagram star and high priestess before the eternal, died Friday at the age of 102. With 3 million followers on Instagram, the centenarian still attended the presentations of great fashion designers, in a wheelchair. Born in Queens, Queen Iris Apfel had studied art history, making her the cultured aging bimbo extremely rare in the profession.

An interior designer, she participated in renovations to the White House for nine presidents, from Harry Truman to Bill Clinton. For decades, she had amassed clothes from the greatest designers of the 20th century, which fill two floors of her Park Avenue apartment. She used to say that someone had said to her one day. »You’re not pretty and you never will be, but that’s okay. You have something much more important: you have style.” So do it…

Since his appointment in 2019, Daniel Roseberry has given new impetus to the illustrious house of Schiaparelli, and today, it is the climax of Paris Fashion Week with a sublime collection of balance and more than wearable clothes; formidable females, who wear a cowboy tie made of synthetic hair, and its bite in its sides has this noble ambition to rub shoulders with the apotheotic of fashion and find its measure in our eyes to put pressure in our jugular. Make no mistake, woman of the best of Fashion Week who covets the public’s failure, today we saw a real eight-minute moment of apnea pleasure for a magical end to the evening.

Paris is living in the Roaring Twenties, when Gaston Doumergue inaugurates Boulevard Haussmann with silver-gilt scissors; he cuts the symbolic ribbon criticized by some. At the time, Joséphine Baker had just performed at the Folies Bergères, with the revue Nègre. In the heart of the theater district, Maison Burma opens its doors and signs a style, in line with the new modern, emancipated and bustling woman.

Independent since its creation in 1927, faithful to the creativity and quality of the Maison’s creations, with a festive heart, a light spirit, with jewelry that marks the present time. Paris was the center of the international literary scene in those years, and writers like Ernest Hemingway, F. Scott Fitzgerald, Gertrude Stein, and James Joyce participated in wild literary circles.

In Paris, fashion at that time was also driven by renowned designers like Coco Chanel who revolutionized the industry with their innovative designs. Burma plays a decisive role, because with an international reputation for its magnificent pieces set with these precious gems, it imposes its creations.

Willy Chavarria  the CFDA Menswear Designer of the Year Award winner showed in a primo time slot on the first night of New York Fashion Week in the same building where his design studio is housed in Greenpoint, Brooklyn.

His packed front row included Julia Fox, Becky G, Sam Smith, Susanne Bartsch and former club kid Amanda Lepore. The room was flooded with sexy red lighting, and the wooden chairs were stamped with the image of the Virgin of Guadalupe, underscoring the influence of the Catholic church and religious life on the Mexican American designer.

a celebration of sexual freedom, queer self-expression and harmony as a big happy and safe family.if you understand the message because I didn’t understand anything. Latin American people just released from prison will really like this collection.

Charles de Vilmorin is ready for his next act: a ready-to-wear line! showcase hosted by the Fédération de la Haute Couture et de la Mode.

The French designer, a graduate of the no-longer École de la Chambre Syndicale de la Couture Parisienne, emerged during the pandemic thanks to an eye-catching line of patchwork quilted bombers copied from artist Niki de Saint Phalle.

Moschino has appointed Adrian Appiolaza as creative director. The Argentinian designer will lead the house’s women’s, men’s and accessories collections, succeeding Davide Renne, who died prematurely last November a few months after being appointed head of style at Moschino.

Adrian Appiolaza left Buenos Aires, where he grew up, in his early twenties to move to London, where he graduated from Central Saint Martins fashion school. On leaving school in 2002, he made his debut at Chloé, before transferring to Miu Miu four years later.

In 2009, he joined Marc Jacobs at Louis Vuitton, then returned to Chloé as design director for ready-to-wear. In 2014, he joined Loewe (LVMH), holding the position of design director for women’s ready-to-wear for almost a decade.

As Gwendoline Christie finished her circuit in her kinky fit-and-flare latex dress, the photographers howled “Bravo” and filmmaker Baz Luhrmann joined the audience in stomping his feet. Every outfit was a marvel of imagination and artisanal craft. Mix between New look, and French cancan dancers, but also the style of the court of Catherine de Medicis.

There were sheer bias-cut dresses embellished with silvery embroidery, or dense accumulation of godets; rumpled street-urchin suits nipped and tucked for maximum glamour, and gauzy siren gowns that showed off the models’ enhanced Jessica Rabbit figures like the cartoom.

At the end of a week full of safe, client-friendly clothes, Galliano returned the rare pursuit to its original R&D purpose. This poignant, unforgettable show reaffirmed Galliano’s status as a fashion icon.

At the heart of the luxury goods and perfume industry, where every detail counts and design is king, a singular and enigmatic figure emerges: a bottle designer like Serge Mansau and Pierre Dinand in their day. But not just any designer: this one doesn’t work for the big name brands, but rather for some completely unlikely ones. Here’s a look at an artist who’s going against the grain.

While the world of fashion and luxury is dominated by the big houses of the Lord of Arnault and the Prince of Venice, this designer deliberately chooses to stray from the beaten track to make a name for himself. Why design bottles for Chanel, Dior or Gucci when you can design “Ce n’est pas drôle c’est Marrant” for Isabelle, “A mon Aix” for Jacquemus, or “un Ami qui vous veut du bien” for AMI perfume?

He challenges norms and expectations, questions established values and offers a subtle but powerful critique of the excessive superficiality that often characterises the world of luxury and the lack of humour, a powerful factor in memorisation. His approach provokes conversation, fuels social media and challenges established conventions. Ultimately, this designer manages to kick-start even the very universe he deliberately chooses to defy.

“No Dior, no Dietrich,” is what the German actress and singer reportedly told Alfred Hitchcock when the formidable director cast her in a role in “Stage Fright,” a 1950 noir thriller.

Thom Browne or the external sign of inner wealth, for one of the most personal collections he has ever presented. With its sense of shimmering color from the last collection, it is a perfect opposite because the gray now “relieves” it. Thom’s color this season, this gray symbolizes refinement, maturity, and conservatism in a cleverly constructed cocktail of the upcoming Trumpist wave.

There is a pleated skirt, Tartan type, an inexhaustible source of creations for Scots on the go, which could make Vivienne Westwood and Alexander McQueen out of date. The collection of an androgynous artist, who praises my wandering spirit as a Jew and Greek shepherd to the “faith”.

And despite everything, it is poetry from another time delivered in this sumptuous, inaccessible and insane setting of the Big Apple, initiated for an unfailing pleasure for the eye. Giving is a physical and psychological need, and the adrenaline of a heart in search of pleasure is also shared together in the city of “Taxi Driver” and Edgar Allan Poe.

FM