It’s Paris Fashion Week; albeit not as we know it. The Daily Front Row‘s Paris correspondent, Sofia Achaval de Montaigu, lets us in on what’s happening online, and in real life, during the City of Light’s Spring Summer ’21 schedule.
Day 2: September 29, 2020
My first live show was Christian Dior, which took place a rainy day in a very cared for way, amid the pandemic at the Jardin des Tuileries in an enormous stage created specially for the occasion. When entering, 18 acrylic light-box installations by artist Lucia Marcucci made the hall look as if the audience were in a Gothic cathedral and created a holy atmosphere. Although the guest list had to be reduced due to safety reasons, celebrities like Ludivine Sagnier, Emmanuelle Devos, and the lead singer from Christine and the Queens shined in the front row. But the couple that caught every eye was Maisie Williams and Reuben Selby, dressed in matching outfits. Creative director Maria Grazia Chiuri presented a collection where the trademark Dior “New Look”, famous for its structured silhouette, was transformed into much more fluid garments. Chiuri created items with soft and rustic fabrics, such as linen, with the idea of making everyone feel chic at home.
The collection had a relaxed mood, with denim, vaporous silk dresses with v-necks and low backs, shorts, tops and very chic oversized white shirts with skirts. Models walked down the runway to the beat of an all-female choir that sang “Sangu di Rosa”—a play by Lucia Ronchetti interpreted by the vocal ensemble Sequenza 93. Shirts turned into tunics and the colors transmitted softness and called to the earth. All the looks were styled with flat sandals, which gave a comfortable touch to the collection, as did scarf hair accessories and turbans.
Marine Serre’s online presentation consisted of a film titled “amor fati” directed by Sacha Barbin and Ryan Doubiago, with music by composer Pierre Rousseau. Before the debut, viewers could catch little sneak peeks on Instagram, as well as via posters in the street of a naked torso that anticipated what would come. Serre and her team also created an Instagram filter with moon drawings—her signature—which contributed a fun edge to this new way of presenting a collection.
The film, starring singer Sevdaliza and Juliet Merie, took us to different stages, from a kind of laboratory to an alien set. One of the designer’s main goals was to portray her garments as a protection tool, hence we saw the models covered in bodysuits from head to toe. They also wore accessories that bolstered the idea of protection, such as glasses, masks with capes, and gloves. For me, utilitarian jackets stood out the most in the collection. Because of Serre’s vision of a waste-free world, the collection was made with recycled fabrics, such as rugs and biodegradable nylon.
Koché’s fashion show was held at Parc des Buttes-Chaumont in a gigantic garden with a lake view, where a group of musicians playing bagpipes were in charge of the show’s soundtrack. On this occasion, transgender and non-binary models walked the runway under the motto “LOVE MOTHER NATURE TILL SHE COMES”. One of my favorite looks was the one
which opened the show: an extra-large urban coat in green and orange with a feathered headdress. Tops, shorts, and big sweatshirts were part of the sporty side of the line. Garments like lingerie dresses and robes also stood out, thanks to lacy fabrics and feathers.