Some thoughts & notes on PFW FW24
The Paris conclusion to the Fall Winter 24 season felt very apt. There were epic shows of originality and talent with standout presentations from the likes of Loewe and Schiaparelli. Saint Laurent refreshingly deviated from a typical Fall Winter show focusing on hosiery fabrics and almost hosiery fabrics only. Yet there was still a clear continuation of themes we have seen emerge throughout the month of fashion.
Grey and olive green are the takeaway colours to remember, though bursts of colour continued to feature. Texture continues to be unavoidable; while Dries Van Noten and Stella McCartney made a play of it, Valentino’s exploration against its more sombre all-black base was also noteworthy.
The key trends at PFW include ladylike dressing, with nods to femininity but not in an overwhelmingly girly way; unexpected proportions - designers played with shoulders, voluminous fabrics and contrasting shapes to create original pieces; and then there was the mundane. For better or worse, the majority of shows included an awareness of functional, everyday dressing to varying levels of success.
Dries Van Noten
The Dries Van Noten FW24 show made fun of the everyday, or, you could say, had fun with the everyday. Usually simple garments, a hoody or a mid-length jacket, were deconstructed and infused with unexpected colours, prints and textures to make for a fascinatingly charming collection.
Considered layering highlighted these contrasting patterns and prints that elevated outfits with a distinctly avant-garde feel. Basic grey jersey pieces were infused with almost-fluorescent yellows and pinks while tinsel-esque vibrancy was instilled on tweed jackets and some fantastic suiting.
This season’s unusual pairings included crushed sequins with houndstooth tailoring, denim sleeves on a satin, asymmetric cut blazer paired with oversized tailored shorts in a pop of pastel green. This being said, the way the brilliance of the styling complemented the flawless cuts of the clothing maintained a nonchalant cool that kept the looks enticing.
Saint Laurent - Anthony Vaccarello
Almost the entire Saint Laurent Fall/Winter collection was created from hosiery materials, for which I can’t help but quote Mark Holgate (who wrote the Vogue Runway review): “I am British, and simply cannot conjunct panty and hose into one word. It sounds awful. Sorry”.
Through the repeated, delicate layering of this sexy sheer material were adaptations of some of a woman’s sleekest items, all cinched at the waist with a simple leather belt. Bandeau dresses, halternecks, pencil skirts, pussy bow blouses, all featured with a certain sophisticated prowess, exemplifying and owning the notion of ladylike.
For those few looks that were not made of stocking material, outerwear was the only nod to the fall/winter element of the collection. Large, bowed leather jackets in beautifully soft leather starkly contrasted with the disproportionately slender legs below. Similarly, abundant fur coats and bags were carried, creating a dichotomy between the sleek and voluminous.
The colour palette was not unlike other shows, featuring earthy greens, nudes, greys, olive, taupe, burgundy, navy and so on; yet the delicacy of the fabric gave them a cool sensuality, unlike other iterations.
Chloe - Chemena Kamali
I have not always been a big fan of Chloe, boho chic can sometimes feel a little overkill to me. But there were so many elements of this collection I loved that I may reconsider - at least for this version of it anyway.
The vibe was still definitely bohemian, and chic, with a sprinkling of 70s, but Chemena Kamali delivered it with a fresh boldness. Notions of soft femininity were present, but there was an air of ownership and confidence that kept it from becoming weepy.
The colour palette was delicious and moved nonchalantly between gorgeous monochrome looks of neutrals interwoven with olive greens, pale blues, deep browns and burgundies. The restraint with the colours meant that there could be more focus on the proportions and the shapes without feeling that anything had been overdone.
Coats were still a mainstay, but for good reason. The strong plaid multi-layered designs were both standout and practical, giving an air of wealth-in-the-Highlands functionality. Many outerwear pieces were adorned with capes, which leant into the bohemian 70s reference, but they flowed with a certain captivating edginess. The buttery, leather-fringed jacket, in particular, was perfection.
The use of lace gave an almost gothic feel, it was statuesque as it delicately covered models head to toe, the skin-tight jumpsuits in particular. Balancing the swathes in varying lengths and proportions kept this from feeling too monotonous. The dresses in sheer fabrics floated ethereally without feeling too OTT.
Over-the-knee boots also added an attitude that transformed some of the softer looks into more sophisticated, grown-up versions of the Chloe woman. A woman that, these days, has clearly got her shit in order.
Schiaparelli - Daniel Roseberry
The FW24 Schiaparelli show played into the weird and the wonderful but still with a deliberate, albeit somewhat abstract, femininity.
Roseberry toyed with ladylike references throughout, yet girliness was nowhere to be seen. At first, the oversized suits and shirts had a very masculine approach, until you noticed the pony-tail tie. Later there were other equestrian references with riding boots and a riding hat.
A contrast between masculine and feminine was prominent throughout. A corset was paired with low-slung oversized tailored trousers; an 80s-style skirt suit, complete with strong shoulders, came in stiff denim and a magnificent floor-length, cut-to-the-navel blazer coat exuded sultriness. The overly masculine start was balanced out by the modest, exquisitely cut dresses and peep-toe court shoes - which were divine.
Sculptural shapes were also prominent. Grecian-draped materials were statuesque while abstract accessories in the form of enormous earrings, novelty rings and glinting gold buttons brought a lightness that Schiaparelli is so fond of.
Loewe - Jonathan Anderson
The FW24 Loewe show felt more like Spring. Light, feminine dresses with flowing fabrics and flattering cut-outs introduced the collection which later delved into blissfully warped everyday items.
Paying attention to the details at Loewe is essential, and the FW24 collection certainly rewarded you for doing so. Exaggerated tailcoats, botanical prints, animal motifs, and even an asparagus bag, indicated Anderson’s lighthearted brilliance this time round.
Tailoring with ballooned shirting and swollen proportions was a focus, with oversized belts featured to contain the swelling materials. Chintz-esque floral prints on closer inspection were made from beaded embroidery which gave the otherwise prettiness greater depth, whether on a full dress, or especially on a boot.
There were only four coats, though several jackets including aviator styles, which again, alluded to a more timely breakout into Spring. Yet after such a wintery focus at Milan Fashion Week, this offered a light relief, as opposed to lacking relevance to the season.
Valentino - Peter Piccolo
There were 63 looks in the Valentino FW24 collection and all of them were black. While this may not be for everyone, I was a big fan.
Far from monotonous, having such a firm basis for the collection meant that the focus was more on each shape, fabric and silhouette of the looks. Each detail became more easily recognisable and highlighted the range across the collection.
There was an element of functionality in the form of workwear-type dresses, trousers, skirts and suits, even a hoodie, though all Valentino chic, of course. Then there were other sensual looks with ethereal and demure evening gowns that spoke to a sophisticated, ladylike femininity.
The textural exploration was more pronounced with the blanket colour scheme. Feathers, sequins, tulle and ruffles bounced and fluttered delicately down the runway. Layers of sumptuous sheer fabrics floated serenely as Piccolo seemed to explore the concept of modesty and a sense of emboldened female energy simultaneously.
Stella McCartney
Olivia Coleman opened the FW24 Stella McCartney show with an ode to Mother Earth. Far from depressing given the state of the climate, the show was a celebration. Beautiful blue skies gave an overarching optimism, even if that element was by chance.
There were multiple monochrome looks, some in a delectable pink, which opened the show; others came in varying shades of brown, nudes and neutrals. There were bursts of colour: bright red (unsurprisingly) but also bright blue.
The tailoring was perfection but given an un-serious nonchalance without anything underneath. When seen alongside the glistening embellished chainmail pieces this was elevated to more of party-suitable DGAF energy. The no-pants looks supported this carefree notion too.
Once more textures and proportions were prominent. Comically humongous woollen scarves were made chic when paired with sophisticated, mid-heel court shoes. Slightly more accessible furry coats cocooned the models snugly while some denim swamped and some denim shimmered as basics were turned on their heads.
Eye-catchingly enormous handbags were repeatedly featured, slouched over, elevated with chainmail fastenings or oversized studs. Several smaller versions, as well as shimmering micro bags, provided the variety to accessorise no matter the occasion.
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