Rick Owens Catwalk Fashion Show Paris Menswear FW2018

Rick Owens translated his anger in his fall win ter 2018 collection. He experienced some frustrations lately, he told WWD. He had run up against technical limitations related to his exhibition in Milan, and to some special effects planned for his fall 2018 men’s show, leaving him two options: either push hard to get things done right or tame one’s ideas in the land of red tape. It’s a conundrum that extends to the wider socio-ecological-political climate, he argued.
He unleashed his wrath working within his own framework, mixing grand sartorial gestures with a military-athletic vibe. A lot of the clothes looked as if they had been mutilated, with aggressive cutouts on elongated tunics that allowed for peek-a-boo moments on the body, and asymmetric skirts that looked like they’d been crafted from slashed up shorts.

Conversely, a run of capes had their armholes sewn shut, the arms liberated only through slits at the front. They added some chic drama.
The collection had a great sculptural quality to it, applied to everything he touched including the boots and sneakers with platform molded soles, which added to the brutality of the ensemble. Owens also He reworked shapes from past seasons.

Dior Homme Catwalk Fashion Show Paris Menswear FW2018

Designer Kris Van Assche decided to take Dior Homme back to its roots in sharp tailoring. In fact, he stretched back to the founder’s defining New Look of 1947 for women — hinged on that wasp-waisted jacket known as the Bar — for his fall collection. He wasn’t shy about the nipped midsection, demarcating the horizontal seam cut into the sides of some jackets with white piping.
They looked handsome rather than feminine, vaguely recalling the neatness of military uniforms, though the designer said backstage he was careful to avoid that reference. As the show progressed Van Assche loosened things up, blending in Nineties sportswear hinged on tribal tattoo prints, wide-legged jeans and layers of striped knits. Untied laces, on dress shoes and canvas sneakers alike, also telegraphed that point.

Louis Vuitton Catwalk Fashion Show Paris Menswear FW2018

British designer Kim Jones staged his final men’s show for the French luxury brand Louis Vuitton after seven years at the helm. He marked the event by inviting two friends, Naomi Campbell and Kate Moss, to take turns on the catwalk. The designer delivered his trademark mix of luxurious tailoring and upscale streetwear in a collection titled “Overview” — a reference to the aerial images of Kenya that formed the basis for most of the prints.

This was no safari, though. Jones homed in on otherworldly landscapes of lava, craters and stalagmites, which he used as the basis of his ashy palette of mineral tones and a variety of glazed and metallic effects, down to the titanium trunk strapped to one model’s back.

His band of explorers wore outfits including a glossy burgundy aviator jacket paired with glazed monogram denim pants, or a silver herringbone coat over a metallic silk flight suit.

Dries van Noten Catwalk Fashion Show Paris Menswear FW2018

Dries van Noten presented a curious, but well balanced mix of combinations, like Las Vegas-style Western garb, white broderie anglaise pants, military parkas, suits in traditional British checks, granny crochet cardigans and pajama stripes. There was also a hint of pimp and a hearty dose of punk, such as a look pairing a glittery zebra sweater with tartan pants.
Even the more daring elements were digested perfectly into the looks. Case in point: a minimalist navy tracksuit traced with lines of tan cowboy-shirt piping.

Van Noten continued to play with oversize proportions in the slouchy suits, boxy trenchcoats and the baggy pants.
The designer’s magic colorist instincts climaxed in an Instagenic run of anoraks in swirling colored marble-y prints recalling Venetian paper or spun paint, with models gathering in a painterly formation for the finale.
The open-border mixing of cultures worked best on a tropical print pajama shirt paired with a fantasy leopard print skinny pant and snakeskin shoes which, like the rest of the collection, was chic whilst telegraphing rebel instincts.

Haider Ackermann Catwalk Fashion Show Paris Menswear FW2018

Haider Ackermann’s collection felt less gritty rock than past collections, and showed a more merch-friendly, cleaner side. Fully intact was his sense of color and nomad instincts. On a range of layered military-ethnic silhouettes for a chic dandy, the designer juxtaposed Army green and khaki with the jewel tones of the silky rich fabrics.

Quilted green and gold underlayers flashed out from the big tailored coats and jackets, silks lined upturned lapels, and white silk-linen cherry blossom embroideries climbed across the clothes, mixing with stripes on one of the kimonos. Soft unconstructed velvet leisure suits underscored the cocooning mood.

Lemaire Catwalk Fashion Show Paris Menswear FW2018

There were hints of English suede heads of the Seventies in the larger flare pants and three-quarter lengths worn with boots. Juxtaposed with Moujik pants, caftans and Tibetan coats taken from Tolstoy’s descriptions of humble folks, it was a trademark of Lemaire’s season of zen-meets-workwear.

Amid the clinical crispness, bubblegum pink sweaters, muted overdyed paisleys or marbled swirls — the work of French endpaper artist Atelier La Folie — felt like a thunderclap on a clear day.

Lemaire and Sarah-Linh Tran have developed a glossary of classic Parisian understatedness in their work — think Yves Saint Laurent, the man and the ultrachic male Parisian. In their hands, an overcoat piled atop a jacket and several other elements do not add much bulk, making their layers more nuance than cold weather strategy. Yet the standouts were undoubtedly those silhouettes in which the volume play was marked: a sheepskin flight jacket, worn with elasticated paisley pants; oversize chimney collars and flowing pants, and a generously proportioned marbled hooded raincoat.

Karim Adduchi FW18

Take a sneak peak at the Karim Adduchi show in Amsterdam.

Karim Adduchi Couture Fashion Show Amsterdam

Moroccan designer Karim Adduchi presented his new collection “She Has 99 Names” in de Duif in Amsterdam. In addition to Karim himself as an immigrant, he works with his collections together with Syrian, Russian and Eritrean laborers and artists, who recently found their home in Amsterdam. He specifically aimed at workers whose work you do not often encounter on the catwalk.
In “She Has 99 Names” Karim has given an oath to the women he had around when he lived in Imzouren as a child; the Berber village where he was born too. Adduchi shows these women in their distinctive complexity: beautiful and confused, happy and sad, furious and fragile.
Adduchi dives in the rich heritage of Morocco prior to each collection. He designs woolen fabrics, hand-woven by local laborers.
Even though Adduchi is not a political artist, he tries to map social problems with his art. Immigrants and refugees invite him to work with him in his collections. At first, these people were all unknown, but their shared passion for craftsmanship and design brought them together.

Ralph Lauren Catwalk Fashion Show Womenswear SS2018 New York

It was within the context of luxury cars (Porsches, Bugattis, Jaguars, Ferraris) that Ralph Lauren’s claim of connection between clothes and cars resonated. Unlike some of the cars, revolutionary when created in terms of design and performance, the clothes didn’t attempt reinvention. Rather they oozed the timeless chic in which Lauren believes deeply and which, as the surroundings indicated, has worked well. The show opened with the tony men’s wear fabrics he loves — mixed tweeds, checks and plaids. The extensive passage featured a women’s range of dressed-up (bustier over pants) and dressed-down (relaxed jacket, pants). Men’s looks included a re-fabricated motorcycle jacket over shirt and tie and a double-breasted coat belted over lumberjack plaid sweater.

DelPozo Catwalk Fashion Show Womenswear SS2018 New York

The collection of Josep Font for DelPozo was inspired by the kitschy poolside glamour of Esther Williams and the music by Xavier Cuga. A retro world with soirees at the Waldorf Astoria. And without getting on the campy side of that world, Font came up with modern flamboyance, color and concept.
The models walked through the sunlit space at Pier 59 Studios in vivid combinations of red, white, pink, yellow and aqua blue with pert straw bow headpieces while the band Negro Helado, dressed in white tuxedos, performed throwback easy-listening tunes. Daywear was done in architectural shapes — sportswear in sculpted but minimal curves — in mostly ivory punctuated by a pop of fluorescent yellow or orange.

Font also let his imagination run wild with blown-out red paisley prints on a molded coatdress worn over aqua pants, or an aqua and white honeycomb sundress with a bright yellow strap and a wave of sculpted ruffles at the shoulder, hip and hem. There were rainbow-colored tulle gowns and a dress in blue, red and silver lame flowers with puffed tulle sleeves.

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