Trends From Paris Fashion Week 2019Thursday 21 November 2019
If you’re planning to renovate your home interior decor or if you are a design professional and need some inspiration for your work, we will be recalling the latest trends from Paris Fashion Week 2019. An event like this one gathers world’s top fashion designers that present their collections to the world. This year, they featured a modern classic style and an approach to the futuristic trends very focused on the sustainability and nature celebration. These fashion trends 2020 are also applicable to interior design. So scroll down to see what we will be seeing next year in the design industry.
In a season in which a certain dark romance has taken hold—mostly in some combination of menswear gestures and fractured, thorny rose prints—Sarah Burton’s Fall 2019 show for Alexander McQueen was exquisitely realized, peerless, and definitive.
Between the acrid smell of newly paved asphalt and a low ceiling of strobe lights, the Balenciaga Fall show framed Demna Gvasalia’s view of the Paris street. He called it “my ode to the customer, to people who actually go shopping for fashion.
Like several shows this season, it felt like a clearing away of background distractions so you could see silhouettes—the minimal, cool tailoring with an upstanding, rounded shoulder head; the buttonless wrap-over cocoon coats and jackets; and the run of solemn, minimalistic-chic pantsuits (with no-joke trousers, how rare!) calculated to please both men and women.
A lot of it was designed to divide opinion while guaranteeing attention: one-legged pants and jumpsuits (an echo of mid-’90s men’s street style); a Big Bird yellow jumpsuit in a shaggy fringe of fine-cut resin or a version in blue with the soft-tailored seams of a classic Chanel jacket outlined in black.
The eternal and international attraction of being a French girl with “the knack” has been a thread that has run through some of the major Parisian houses and their major “experiential” shows this season.
In Milan this season, the catwalks were awash in jungle imagery, with hovering fronds and glowering vines seemingly everywhere. At Christian Dior, which for many marks the beginning of Paris Fashion Week, the jungle became a forest—or perhaps an arbor—but of a strictly transitory stripe. For her Spring 2020 showing for the house, Maria Grazia Chiuri worked with the Paris-based environmental design collective Coloco, whose work regarding green spaces and urban regeneration she finds inspiring when thinking about sustainability.
Elie Saab put out a typically va-va-voom collection that his press release described as “a reflection on the diversity than animates the great savannas of Africa.”
Givenchy being a French house, she’s set up her new Spring collection as a conversation between the minimalist New York she remembers circa ’93—down to the plain white box background of the runway—and the much more exuberant Paris she visited at the time, which was still recovering from the couture excesses of the ’80s.
The oversized waffled short-sleeve shirts in graphic color mixes were refinements of the famous preppy pique shirt this brand sells by the bucketload, and while luxurified, they retained the ease of the original. Trotter is a big leather lover, a passion she indulged here via slouchy rib-hemmed pants and a leather neckerchief styling story that looked okay enough. The leather-collared and -pocketed full-length polo shirtdress worked nicely, and there was a pleasant and not overplayed silhouette story in the ribbed waist shape that connected a green poplin dress and a white pleated skirt.
Pierpaolo Piccioli dedicated the whole opening section of the Valentino Spring show to white, sending out 12 looks of pristine variety.
Something of the aesthetics of the Renaissance came through here and there. Even though Piccioli said there was no deliberate religious or historic referencing, the starched bibs, shirt collars, billowing sleeves, and ruffs at times configured as visions of nuns or medieval page boys. Maybe that just happens when you’re an Italian working in Rome.
Stella McCartney hosted a sustainability roundtable late last night in advance of her Spring 2020 show. Many of the pieces were constructed using the circle, a symbol not just of the earth but also of the feminine. This was most apparent on a black-and-white–striped top whose stripes clashed directions, but it was also noticeable on a skirt made from two circles of fabric stitched together, producing a curved waistline, and on blouses with scalloped sleeves that created a capelike shape. The technique gave the clothes their relaxed, sensuous silhouettes, which is as much a brand signature as the minimal power suits. Those McCartney showed mismatched—a camel blazer with kelly green culottes—to keep the mood playful. As serious as her environmental messaging has become, the designer’s aesthetic has always been about optimism and uplift. For good vibes and a responsible shopping rush, the flower-print dress banded in bright orange piping will be hard to beat.
The standaway collars and hyperbolic pouf shoulders of the opening organza looks, a riff on Dominican Republic maid uniforms, were too extreme, and the logo detail across the chest rather out of place on the delicate material. Round, bib-like collars on button-down blouses—these a nod to their Belgian roots—were almost as exaggerated and might be slightly easier to wear. Pieces like a pair of pastel dresses in airy cloque had a naive, unstudied charm. But there was a significant disconnect between them and the soberer pintuck tailoring that formed the foundation of the collection.
It wasn’t the first time this season that the notion of converting household linen into garments has come up—here you could imagine girls who’d cut up bedsheets to run up into dresses and long, slim skirts on home sewing machines. There were Miu Miu demonstrations of how to make even the scrappiest, rattiest old knitwear off-the-shoulder sexy. Distinct echoes of Anna Magnani and Sophia Loren as neorealismo movie heroines ran through it. Even the accessories spelled Italian ingenuity in times of scarce resources—unmistakable references to the type of wooden wedges made famous by Salvatore Ferragamo; to the bamboo made into bag handles by Guccio Gucci.
Nowhere was the point made as meaningfully as with the dress which bore the universal emblem of medicine on its bodice: silver-embroidered serpents, entwined around a staff. There was another that spoke to justice via an allusion to peplos pleating in a stone-colored dress with a jeweled bra in the shape of scales. Each dress was its own entity, one with spiraling numbers representing the infinity of Pi, another spangled with a map of the heavens, a tabard studded with compasses, alluding to Greece as the culture which spread throughout the globe via its ancient seafaring prowess.
Ghesquière has always had one foot in the future—few designers of the 21st century have been more influential—but his work at Louis Vuitton is deeply linked to the past. The Belle Époque references were many: the pouf sleeves of shirts; the iris boutonnières, each one different; the Gibson Girl hairdos, and all the Art Nouveau touches, from the proto-psychedelic swirls of a green jacquard coat to the painterly flowers on a trio of simple dresses to a terrific little leather jacket hand-painted with angelic faces.
Ethereal, poetic, and aristocratic were three words Jonathan Anderson used to describe his Loewe Spring collection, and he wasn’t exaggerating. From his first look out, a white lace tunic with a ruff collar over matching trousers, the visual accumulation of the exquisitely refined, minutely crafted clothes that followed was almost incalculably overwhelming.
Along with yesterday’s Issey Miyake show, this Noir Kei Ninomiya outing felt a fashion equivalent of petrichor—that heady scent that fills the air as the first rains fall after a long dry spell. Whereas Miyake was about attitude, Ninomiya was about amplitude. Noir builds spaces around the body that feature incredible volumes that defy easy description: From the side, Look 13’s leafy headdress and huge backward-stretching skirt of greenish strips made the whole look resemble a tropical-themed Sideshow Bob–headed horse piñata.
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