Paris Fashion Week, this year set design is mimetic

Minimalist architecture and references to nature: the French catwalks opt for restrained set designs, which follow the language of the clothes.

After its debut with men's fashion, the glittering Paris Fashion Week concludes the calendar of its fashion shows with the most exclusive section, Haute Couture. Unlike other editions, the catwalks’ set designs do not opt for hyper-designed solutions but prefer to keep the spotlight pointed on the clothes, confirming their role as true innovators in the field.

Under the creative direction of Kim Jones, Dior autumn-winter 2020/2021 collection is inspired by Judy Blame, the great icon of punk fashion. The subtle sophistication of the looks, such as the many sartorial outerwear, is highlighted by the minimalist glass and steel architecture of the set design, punctuated by light and smoke. Balmain's catwalk, on the other hand, chooses a delicate environmental charm. Directed by Olivier Rousteing, the French brand enhances the tones between sand and beige of the clothes through the pink nuances of the desert’s image in the background. Another environmental suggestion, this time more sinister, is the one presented by Loewe with Jonathan Anderson. At the UNESCO Auditorium, he presents his cross-gender garments on a “catwalk-pier” whose finish recalls the effects of a fire.

Tra le sfilate femminili, è ancora una volta la relazione con la natura ad emergere. Sotto le volte del Grand Palais,  ricostruisce il cortile della abbazia cistercense di Aubazine, nel cui orfanatrofio Coco visse dopo la morte della madre: piante e arbusti delineano una cortina verde, incolta, che mette in risalto il bianco e nero dei capi da educanda disegnati da Virginie Viard. Guarda invece alle profondità marine la nuova collezione di , tra le precorritrici della stampa 3d nella moda: le sue creazioni entrano in scena passando tra le sculture luminose di Paul Friedlander, che suggeriscono con il loro movimento ad elica le tracce della vita negli abissi.

One more time, the relationship with nature emerges also among the women’s fashion shows. Under the vaults of the Grand Palais, Chanel rebuilds the courtyard of the Cistercian abbey of Aubazine, where Coco lived as an orphan after the death of her mother. Plants and shrubs outline a green, uncultivated screen that highlights the black&white schoolgirl's clothes designed by Virginie Viard. The depths of the sea inspire the new collection of Iris Van Herpen, one of the forerunners of the 3D print in fashion: her creations enter the scene passing through Paul Friedlander's luminous sculptures, whose propeller movements recall the life in the abyss.

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