Between glorious nostalgia, retro futurism, passion for vintage, regress and philosophy ; this 2018-2019 Fall/Winter season of Paris Mens Fashion Week will have globally aspired to take a fair look to our past and modern questionings, to envision a better future.
Like an ode to gamers, with a 2018-2019 presentation inspired by the retrogaming culture, the Forever Kid collection of Maxime Simoëns’ M.X envisions a new menswear season in-between sport and technology, on the theme of innovation and inclusion.
Immersed in an aesthetic and graphic universe from the beginning of the video game era, when emblematic games like Pac-Man, Tetris or Space Invaders were all the rage. The golden era of video games serves as the basis for this collections that plays to the codes from the past in order to better carry us through the new Fashion era.
With its singular style inspired by the masters of the antifashion movement and drawn from extensive archives (from the iconoclast Helmut Lang, to the recycle philosophy of Margiela and the arty discretion of Rei Kawakubo), it’s with great attention that we witnessed Nïuku‘s debut on the Parisian catwalks.
Well known for reinterpreting existing models on the fashion market, this is a collection with multiple influences that revealed itself before the eyes of the many guests present that night : the pant suit associated with an asymmetrical jacket that opened the show, and perfectly tailored english suits, worn with vintage printed shirts, stood alongside sportswear pieces like the tracksuit or this unmissable t-shirt in tribute to couturier Azzedine Alaïa.
Navigating between traditional chinese culture and modern pieces, such as tailored coats and oversized clothes, the Sean Suen runway show was based on the topic of childhood in order to narrate the story of Pu Yi, the last Emperor of China.
With its scenography inspired by Beijing, his hometown, the collection reflected the monarch’s different life stages, from childhood to manhood, Emperor turned war criminal and then simple citizen. A way for the designr to explore different life paths, while sounding out how our realities are embodied outwardly through the clothing we choose, or are made, to wear throughout that life.
In a poetic and ethereal surrounding, the Henrik Vibskov runway show, as usual, took the dimension of an authentic performance art experience. The scenery, conceived by the designer, coveted to embody an imagery of the way people nowadays are becoming machines controlled by metrics, through their constant need to measure everything.
Inspired by an art piece by Jan Fabre, titled The Man Who Measures Clouds, that the designer came across last summer during his travels in Kanasawa, Japan ; the collection displays the main topic in various ways : prints of little working people trying to analyze their surroundings, oversized ribbing on knitwear that seems like it came from another measuring system. The spirit of this collection questions our modern societies and the influence of the digital world, which drives us to measure and measure ourselves constantly (size, height, distance, amount, time, intelligence, popularity and even feelings). An era in which we’re convinced that if you can number something, then you can control it.
Under the sign of mountaineering, models on the verge of climbing the Everest marched under the spotlights for the new Autumn/Winter collection by Yosuke Aizawa. Inspired by mountains and extreme sports, the designer’s intent was to channel the idea of a higher altitude experience, in which a peaceful scenery turns into harsh climatic condition in the blink of an eye.
By using adrenaline as a catalyst in his creative process, the designer played to its strength, outerwear, while experimenting through the creation of juxtapositions between fabrics like Gore-Tex and flannel. The elevation principles invaded the show, with clusters of carabiners looped through back straps as an alternative to jewelry or lacing common to backpacks which became a decorative accent on dungarees.
Sunday night at the Conservatoire de Musique et de Danse de Paris, Stéphane Ashpool invited us to discover his life show, displaying his childhood memories, with performances from dancers and pianists.
This season, the performance had the will to lighten the blur that we perceive from our oldest memories after birth. A collection that emphasized a multitude of childhood memories, staged through the pieces, the vivd colors and the scenography.
A presentation, that called on the collective unconscious and the freedom of interpretation of each and everyone of us, which will be remembered for its incredible vigor, power and emotion, especially with a piano cover of Michael Jackson’s iconic song “Bad” and a vibrant final under the « Ici c’est Paris » chants.