Paris shone on the catwalks with great energy. On the seventh day of this Fashion Week dedicated to women’s ready-to-wear for autumn-winter 2024/25, the designers distinguished themselves with fashion that was both creative and wearable, each with their own vision, from Duran Lantink to Ottolinger to Atlein, while Mugler rounded off Sunday in style with an ultra-sexy fireworks show.
Creative director Casey Cadwaller concocted a spectacular show, with a set that was constantly changing and recomposing itself, with no less than four curtain drops, smoke bombs, pyrotechnic effects and lasers. Not forgetting the drones and a robot camera, which followed the models closely. It was the kind of big show that fashion people love.
On the menu were ultra-sensual and provocative outfits for all body types and sexualities, with a majority of black total looks, from sheer veil gowns to 100% leather ensembles combining a pair of thigh-high boots with a draped mini-dress, to bondage outfits with strappy body-hugging dresses and ultra-thin bras that revealed everything.
For evening, dinner jackets were revisited with deep scallops or asymmetrical necklines. The long black velvet dress was pulled up one thigh to reveal the leg. Latex boots were paired with draped outfits in transparent voile, while Monsieur flaunted his boots and tight leotard under his big black coat.
Mini dresses draped in satin or silk added a glamorous touch to the ensemble, as did an ultra-short fur coat with long waving red hairs worn in style by 1980s model star Farida Khelfa, alongside her colleague Eva Herzigova in a draped black velvet mini dress.
At midday on Sunday, Duran Lantink brought a breath of lightness to Paris Fashion Week with his playful, quirky fashion. For his second show in the official calendar, the Dutch designer continued his work on Niki de Saint Phalle-style sculptural garments, with bouncy volumes that reshaped silhouettes in soft curves.
For next winter, the emphasis is on knitwear and warm wools, infusing the whole collection with a cosy spirit, while mixing a formal vein with a cooler, sexier style. On the one hand, the classic sky-blue shirt swelled out at the back, while the tailored jacket puffed out at the hips. On the other, blinding gold trousers made their presence felt, while white jumpsuits moulded the body.
The wardrobe for next winter also included mini or hip-slit knit dresses, micro waistcoats, pudding skirts, little cocoon jackets with puffed-up pectorals and bodysuits with oversized cups.
The star piece was the finely ribbed bootie sock, which reached right up to the thighs. Jacquard jumpers were also revisited with a surrealist twist. Cut cleanly at chest height, the jumper was transformed into a two-piece, with collar, top and arms like a long-sleeved crop top, and the bottom of the jumper transformed into a mini skirt. Padded cardigans, chunky sleeves and fur-lined boots were reminiscent of a chick’s down.
Futuristic nerdy glasses without lenses, fitted with headphones, put the finishing touches to this whimsical silhouette.
For next winter, Ottolinger is continuing its foray into a more formal, almost couture universe, without abandoning its work of destroying and recomposing clothing, always with that organic, experimental breath that has characterised the label since it was launched in 2015 by Swiss designers Cosima Gadient and Christa Bösch.
It’s the world of the office and the business woman, outlined last season, that serves as the guiding thread for this new collection. The loungewear favoured by the brand is still present, with leggings, tops, T-shirts and jogging trousers in cotton or grey wool knit, paired with chunky regimental burgundy ties and the typical light blue shirt, twisted with an askew collar and cuffs that acted as belts.
With round glasses on her nose, notepad and pen in hand, the Ottolinger girl combines a small navy pea jacket with loose grey flannel trousers. She plays the bourgeoise by throwing her fox stole over her shoulders or with her tweed skirted suits, which fray in strips. In her hand, she swings a small white shopping bag with elegant black edges, branded with the name of the brand.
For the evening, a slim-fitting jacket was completely ripped apart, revealing whole sections of lining. The shoulder of a banker’s jacket was split open. The proportions of another jacket were revised with gathers and darts. A trouser suit was slashed and recomposed in the form of a dress. Other suits unfolded in long trains, again in the lively, energetic style of the two designers, characterised by fluctuating ribbons and straps around the silhouette.
At Atlein, Antonin Tron is expanding his vocabulary with new pieces and materials. Long, draped, gathered jersey dresses are still the staple of his wardrobe, enhanced this season by balaclavas and long zips that wrap around the body, splitting it from neck to toe. But the designer is moving away from eveningwear to offer more pieces with sleeves and trousers in a more urban, sportswear spirit.
“I was inspired this season by science fiction heroines. In particular the films Under the Skin by Jonathan Glazer, Alien and Annihilation by Alex Garland. She’s a powerful woman, ready to fight,” says the designer backstage. For next winter, his heroine will be dressed in little military bombers, with thick leggings as if cut from suede, spindles zipped all the way down the front, hoodies in lightweight jersey and ensembles in waterproof coated wool, which looks like old leather.
When she returns from a mission, Atlein’s space warrior sheds her high-waisted, padded nylon trousers, unzipped at the side like a spacesuit, to don sparkling galaxy-queen dresses like these glittering sheaths in crystal mesh fabric, delicate outfits in transparent jersey or mercury metallics. Sequined gowns with a snakeskin look shimmer intermittently in the light.
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