All about Paris Fashion Week Fall 2022

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by brownfashionagal

Chloe: While there are striking similarities between Hearst’s namesake label and Chloé, the Chloe woman is more grown-up, Parisian and chic. Earthy colors, sophisticated silhouettes and soft tailoring – this collection reflects the quintessential woman Hearst is grooming for Chloé. This boho Parisian chic aesthetic seems to be selling well too, and why shouldn’t it? it’s pretty comforting.

Givenchy: If 3 years ago you would have told me this was a Givenchy collection I’d ignore you. But this is happening. Matthew Williams is keen on joining the likes of Virginie Viard and Maria Grazia. It was all Streetwear here; slashed hoodies, graphic t-shirts, leather pants, big coats and baggy denim were some constants mostly in black. The silhouettes were utilitarian and layered and were styled quite well.

Miu Miu: Mrs. Miuccia knows what she is doing and god bless her. Continuing the mini skirts, this collection gave us some potential replacements for ‘the set’. The looks here are more sporty but equally hot. Leather, sheer, embellishments, faux fur; there was a lot of hot stuff going on. The styling – traditionally questionable, intellectually Prada. The almost androgynous boyish charm that peeks through the mini skirts and bare midriffs carries the essence of Miu Miu ‘a girl at heart’.

Ann Demeulemeester: They could have showcased this collection in under 10 looks since that’s what pretty much the collection was; the rest was looks with slight changes. The usual mostly black colors highlight the refined tailoring and clean silhouettes. the collection was deeply influenced by the Demeulemeester archives and thankfully so, looks like Claudio Antonioli(who purchased the brand in 2020) is keen on preserving the brand’s heritage. Peeking white collars, deep V necks, lux materials, full coats and asymmetrical cuts were just some features elevating this lineup.

Stella McCartney: Titled ‘STELLA BY STELLA’ this was made in collaboration with Frank, another hit for McCartney. Delicious prints made out of Frank’s iconic artworks and colors inspired by 1970s’ new age furniture. The designer also takes a stance against the Ukraine war and which I appreciate. There were some sexy cutout dresses and ultra-chic oversized suits. The collection carries a true range in shape, material and aesthetic; a delight for her buyers.

Giambattista Valli: This collection was a massive mess, apart from a few chiffon dresses with statement flowers on the chest. Valli is a master of tulle but it also seems to be his bane. His RTW often underwhelming and instantly forgettable is the definition of tedious.

Olivier Theyskens: A collection virtually impossible to mass-produce but is a blessing to the fashion girlies. Continuing on the major design aesthetic switch from last season this collection is a testament to Theyskens’s talent and dedication to the artistic aspect of fashion. The immaculate focus on fabrics and textures all within the realm of dark shades results in some artful pieces. Couture-like tailoring and construction elevate the collection’s opulence while maintaining raw handcrafted energy.

Louis Vuitton: Everyone on my timeline was busy hating this collection I was deeply intrigued by Nicolas Ghesquière’s thought process. His tenure at LV has always been a fascinating journey. A mix of different eras, this collection reference the uniforms and formals from the youth amped up to a maximalist’s dream. The historical references in his work paired with today’s staples are some delicious visuals. It’s not for everyone though, it’s not as easy as one might want LV to be. Oversized silhouettes, soft tailoring, graphic prints and relaxed layering complemented by brilliant styling make this collection a hit.

Hermes: Hermes has always been a flagbearer of a french woman and her style. This collection is a defining moment proving the same. Seductive yet traditional and daring yet respectful Nadège Vanhee-Cybulski strikes these balances well with her thoughtful approach towards clothes. A focus on feminity and sensuality is clearly visible in the clothes, be it in the sheer tops, leather detailing or chiffon dresses.

Chanel: Virginie Viard pays tribute to the brand staple tweed here. The references in Chanel don’t really matter because it often ends up looking like the same messy Chanel aesthetic that Viard has carved out for herself. Commercially the brand seems to be doing well, though that might be partly because they hike up the prices every other day. Well, Chanel, you have disappointed me yet again.

Rokh: Rok Hwang is raging with every collection. Sharply tailored & heavily accessorized military-like looks were the sole highlight of this collection; a reflection of how strong their core aesthetic is. Corseted and embellished trenches blend the strength and feminity that the brand has successfully done.

Elie Saab: This was quite a gorgeous collection, Elie Saab makes clothes beautiful. Titled ‘Fearless Grace’ this collection is a perfect representation of Saab’s glorious and huge body of work. Couture like clothes created in vivid jewel tones and along with classic black. Lace, feathers, sequins, embroidery; there was every bit of glam one might expect from Saab. From plunging necklines to velvet suits and feathered trenches to ruffled minidresses, it had something for everyone.

Lanvin: At Lanvin, Bruno Sialelli is someone to look out for. Influenced by Art Deco, Egypt and Jeanne Lanvin’s fascination with Egypt this collection is Sialelli’s most intriguing collection. A restrained luxuriousness and a subtle youthfulness bring the dramatic silhouettes to life. Regal colors and abstract patterns projected on various lux materials showcase clothes truly meant to be archived. Historical references result in a rather futuristic collection, A big win for Lanvin.

Zuhair Murad: Lace dresses, sequined gowns, colorful prints, and gold details were some highlights in this collection influenced by the designer’s travels. Evening wear was a bit underwhelming; usually, I can recognize a Murad look at a glance but here the clothes were different. This collection overall felt a bit different from his previous work. A focus on subtle clothes and daywear was expanded upon.

Issey Miyake: Satoshi Kondo called it ‘Sow It and Let It Grow’ where he deeply gets into the beauty of nature; vegetables and roots specifically. The colors move from blacks to vivid shades of nature. Asymmetrical yet soft silhouettes, delicate layers and effortless styling elevate this collection to the levels that Miyake clients deserve. Detailed microscopic knits, curved knitted scarfs, and colorful woolen coats provide a complete wardrobe.

Isabel Marant: Amidst Blonde Redhead and Palais Royal, This was Marant indulging in the trends from Y2K minis to street cargos while maintaining the enduring nature of clothes(as it should be). The colors were still summery, maybe a bit subtle. The silhouettes were sleek, seductive and effortless. Big boots, fuzzy minidresses, leather overalls, velvet blouses and acid wash denim; the blend of everything from the 80s extravaganza to 00s flirtiness. There were teasing cutouts and oversized outwear, a collection well fit to dress up a hot girls’ army.

Andrew GN: The collection featured beautiful colorful clothes but the question did we need 80 looks? It’s definitely important to provide range and options to your clientele, especially as an upcoming brand but there is also something called sustainability. He seems to be going the Armani way with these neverending lookbooks. Well talking about the clothes, the collection did not disappoint. With a huge array of colors and silhouettes in countless materials and decorations. The tailoring was sharp, the cuts were clean and the shapes were classic.

Nina Ricci: The silhouettes were erratically elegant and the colors captivating. This is the first collection since the Botter duo have left the brand and I can’t say it was disappointing. Nana Baehr took the lead for this show and it is quite nice considering the high-pressure situation that made way for this lineup. Clean tailoring and cuts define this collection’s charm. Textbook prints, daring colors and theatrical silhouettes bring this rather inconsequential collection to life.

Alexandre Vauthier: This lineup had statement reds, soft teals and cheetah prints among some classics. Neat soft tailoring paired with bold silhouettes exude confidence and much-needed drama. The Vauthier aesthetic is instantly recognizable not in its physical attributes but through this effortless Parisian chicness. this collection explored a more romantic approach to the brand’s signature sexy. The most intriguing thing about his clothes is how they are a reincarnation of his couture, which truly ties the brand together and helps develop a strong identity; something most heritage brands fail to do.

Loewe: Boring is a word that I think I would never use to describe Loewe, especially with Jonathan Anderson at the helm. Loewe makes us laugh and makes us wonder. Call it absurdity but it’s fashion at a level we haven’t fully comprehended yet. Balloon boobs, silver bowed heels, high heels inside dresses, car shaped hemlines and lip shaped bust lines; if this sounds weird then you must see the clothes. The surrealism is amusing and the experimentation, brilliant.

Ludovic de Saint Sernin: A collection somewhat less seductive and that’s reallyyyyy saying something when talking about LDSS. Chocolaty brown and beige, greys and black the colors were restrained and workwear-like. Low waist pants, oversized shirt dresses, sky-high slits and slinky halters were some recurring elements here. The best this collection had going was the Hadid sisters opened and closed the show, but both in rather disappointing looks. The clothes are mostly gender fluid but lack the diversity one would expect and frankly require. Every look carried with it a touch of unfinished carelessness. The finale look supposed showstopper look sported by Bella Hadid was rather awkward.

Coperni: Arnaud Vaillant and Sébastien Meyer are prepping themselves to create the new cool girl brand. Cool silhouettes, rigid materials and sexy cuts make this collection one of Coperni’s best. This is the show that gave us the cult-worthy glass bag. Second skin latex dresses, blazers with hoodies, twisted cutout blazers and sheer minidresses stood out.

Rick Owens: Goth gowns that were elegant, sequins that were not shiny, and colors were not black; a lot is happening in this collection. Anything can happen at Rick Owens something pretty cool did. Sculptural denim and puffer jackets were the biggest takeaway from this collection along with the bias-cut long skirts. The outerwear was simply magnificent; from dramatic capes to structured coats. The models were not just carrying fog machines but a reference to his catholic roots (thurible – an incense burner for religious services). The collection is a master class in restrained drama and glam.

Balmain: No matter how good the collection is 106 looks is just unacceptable. And let’s be honest this isn’t even that good. Made almost all in black and white with intricately constructed futuristic silhouettes this collection had razor-sharp cuts. padded corsets, armored jackets, sculptural heels, dainty fabrics and space-age bags were some standouts here. One thing about Balmain is the details are always on point. The accessories are going to save this collection and for that I am relieved.

Acne Studios: Homely references and deconstructed silhouettes are the key concepts behind this collection. In almost industrial colors the clothes felt nostalgic but ready to take on the style-loaded streets. Patchwork denim, sky-high waisted denim skirts, ragged knitwear, blanket trenches with upholstery like prints or day dresses that look like fringed curtains; there instantly developed an intimate connection between the clothes and the viewer. Colored leather that looks like acid wash denim was featured in a couple of looks that stood out. It was nice indeed.

Rochas: Charles de Vilmorin scores with this collection. He called the new Rochas woman “She’s an intellectual. She’s an artist,” and might I say she does look like one. This lineup was Folklore on acid and I am very much here for it. Elegant silhouettes made in mostly black and jewel tones here and there. Long nails, pleated dresses, delicate tulle, detailed embroideries, statement sleeves and ballsy boots were some highlights that make up this collection.

Saint Laurent: Back to the YSL roots, this is one of the best collections Anthony Vaccarello has done for Saint Laurent. Mostly black and with sleek minimal silhouettes and defining cuts. Refined sexuality sears through each look while keeping the glitz and glam of Saint Laurent steady. Elegant slip dresses, big leather coats, statement fur coats, shirtless tuxedos, ultra-slim sandals, chunky bangle bracelets; this collection was head to toe chic.

Courreges: Nicolas di Felice has managed to bring back the retro Courreges aesthetic without being too obvious about it. Mini dresses and extra mini skirts keep the brand heritage and today’s trends satisfied. Vinyl pants, strategic cutouts, bodycon dresses and knitted turtlenecks were some recurring favorites of this collection. The inclusion of streetwear, kink and geometry into Courreges clothes fits quite well and is almost necessary for someone trying to revive the brand. One of the most remarkable things in this collection was the star-shaped cutouts strategically included in numerous looks.

Dries Van Noten: Dries Van noten is for the girls who get it. DVN emerged during the pandemic with some of the best shot lookbooks yet, they carry deep luxury and thoughtfulness that is a signature element of his work. Some very gorgeous clashing prints and colors put together result in a collection so luxe and sticking one can get lost in them for eons. With the refined shapes, sharp cuts and immaculate tailoring, this collection proves why I am a Dries girl.

Patou: I am a Patou stan! The clothes are quite wonderful, to say the least. The blend of traditional Patou styles with today’s trends is clever and marketable. Old school french aesthetics are embedded in every look, so is effortlessness as this collection focused on comfort and movement. Another bonus point to Guillaume Henry for strides towards sustainability; he claimed that the materials were 90% upcycled or organic. The in-your-face Logo branding seems surprisingly modest. But the bags need to be better cause right now they be looking like Zara rip-offs.

Off White: Titled ‘Spaceship Earth: An Imaginary Experience’ this collection had all the signatures and celebrations of Virgil Abloh’s indescribable influence on fashion. Brand staples were revisited through roughly 3 parts that defined the lineup. Walked and witnessed by legends and his loved ones, this collection deserves only love.

Di Petsa: This collection truly embraces and celebrates the changes a woman’s body goes through; a rare sight in fashion. Titled ‘Mother Persephone’ after the Greek goddess and the relationship with her daughter Demeter. The wet look s showcased in more clothing items, functional maternity pieces, daily separates, delicately draped dresses, and dainty corsets were some highlights of this collection.

Ottolinger: Ottolinger is for hot girls and this collection proves it. The brand is going all digital and experimenting with fashion in the metaverse obsessed world. The sci-fi futuristic elements are well visible in their clothes. Playful styling, daring silhouettes and challenging materials make this collection a standout of the season. Not the best but something different indeed.

Dior: Maria Grazia Chiuri explores technology in this collection. Delicate black lace dresses accentuated with padded leather structures, grey bar suits, micro pleated chiffon gowns, biker jackets and more of the typical Dior collection we see every season. Though MGC has always been good with accessories and that is reflected not only in design by also simply in the fact of her successful continuing tenure at Dior, even after rather drab clothes. But the big question here is, how many ways are there to write ‘this was disappointing’.