Chic svelte Brutalism at Hermès

Nobody makes a clearer fashion statement in Paris menswear than Véronique Nichanian, whose latest collection rode the Brutalism wave currently in vogue.
 

This season she revamped the beautiful location of Palais d’Iena, designed by architect Auguste Perret – often nicknamed the ‘Master of Reinforced Concrete’. By adding faux-raw concrete columns and arches to the elegant 1930s Rationalist style building, she telegraphed her message and color palette. The same building is used for shows by Miu Miu, but they are light years away in terms of mood.
 
Even the color choices played their role: with pale, stony, shiny and waxy grays the key hues. As did the invitation – zig zag graphics in mottled tints, very like the clothes.

It’s been a season which has witnessed a huge revival of fur, or at least lamb shearling treated to look like an exotic skins. Nichanian took a very different approach – yes, shaving shearling but using it in some stupendous intarsia coats; repeating the same shapes as her invite.
 
Another smart Véronique talent – being in synch with trends, but on her own terms, like the revival of mohair. Except, she used mohair in peak collar town-coats, parkas or weekend jerkins, and not bright party sweaters like so many designers. 
 

See catwalk

Times might be troubled for many luxe brands, but not at Hermès and not in this collection, where the atmosphere was jaunty. Young gents strolling smilingly by in waxy treated-leather parkas and trenches or creamy and stony calfskin shirts. Where saddle stitching, zips and pockets pointed out the construction beneath. The style reeked rich, but somehow devoid of arrogance.
 
In a month where “The Brutalist” – a film produced by another fashion insider, Andrew Lauren, Ralph’s second son – has won a pack of Oscar nominations, Hermès seemed very in synch with the zeitgeist. Brutalism, like this collection, celebrated minimalist materials, exposing structure.
 
Véronique also surprised with the soundtrack – raucous rock’n’roll like “New York, Let’s Do Nothing” by King Hannah. Adding a nice kick.
 
Perhaps, at times, the suits were a tad too predictable, and the footwear too traditional. But hang it all, overall, this was a great collection, by the classiest act in men’s fashion. 
 
One could nearly wear every single look.