A more sellable bent was also at the forefront of Vaquera, which opened PFW on Monday evening following the graduate show at Institut Français de la Mode (attended by the First Lady of France, Brigitte Macron). Vogue Runway and Vogue Business global director Nicole Phelps deemed it the brand’s “best show in some time”. The collection was inspired by money, or rather a lack thereof, featuring dollar signs and Andrew Jackson prints. The show itself highlighted Vaquera’s conscious effort to become more commercial. Where in the past it was difficult to glimpse the clothes as models stormed the runway in the dark to thumping techno, this runway was well-lit, and models slowed it down, languidly posing in front of a white backdrop halfway around the space.
On Tuesday, young label Ester Manas made a welcome return to the Paris schedule after taking a strategic pause post-Andam win. On seats, guests found greeting cards and notes from the brand, each reading “missed you”, which showgoers promptly shared on social media. The show brought some much-needed size inclusivity to the Paris runway, featuring models of all sizes in lingerie-inspired dresses, trench coats and teddy bear knits. The designers, known previously for their ruched, figure-hugging dresses, have been busy developing new categories like outerwear and lingerie, which takes time and money to create and grade for the brand’s full sizing range (up to XXXL).
Other highlights of the first half of PFW include Dries Van Noten’s collection featuring a bright colour palette and some unlikely combinations, such as grey marl sweatshirt fabric with iridescent sequins, and the second show of Belgian designer Marie Adam-Leenaerdt, who is also an LVMH Prize semi-finalist. “Adam-Leenaerdt isn’t making a lot of noise yet, but for those who are interested in the fine details of tailoring and investing in them, she could be a stealth asset,” wrote Nicole Phelps. Korean label EENK, which Nordstrom women’s fashion director Rickie De Sole flagged as one to watch last season, held its second presentation at Palais de Tokyo, as the brand aims to be Korea’s first high-luxury heritage house.
And at Schiaparelli on Thursday evening — its third ready-to-wear show — the efforts of creative director Daniel Roseberry to instil and define the identity of the more everyday Schiaparelli customer were on display. Behind the scenes in the lead-up to the show, Roseberry spoke about the importance of creating that woman. “When you close your eyes, and you think about the house, and you think about the Schiaparelli woman, you need to be able to think about the everyday-ness of the brand as well. Not just the extraordinary moments,” Roseberry said.
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