Paris Fashion Week: McGirr Debuts McQueen, While Valentino Presents an Ornate Black Study.

Valentino’s newest fashion show, an homage to the dark, was held on Sunday in the hallowed salons of a large 18th-century palace. This monochromatic collection, which was influenced by renowned painters like Pierre Soulages, the French master of black, glittered and glistened among a variety of textures and materials beneath crystal chandeliers.

A moon’s distance away, in the dark expanse of an industrial warehouse strewn with bare concrete surfaces and abandoned iron rails, the shivering guests of Alexander McQueen gathered under blankets, vibrating with an electric expectation.
This was not just any other fashion show, but it signified the start of a new era for a house with a rich and controversial past, as well as the introduction of Sean McGirr as the new creative director.

1. The Nooir of Valentino
“I approached black as a canvas, a starting point on which to build silhouettes that could move while looking for lights around, to soak them in and reflect them,” said designer Pierpaolo Piccioli.
The paradoxes of the color, which might be used to symbolize sobriety and exuberance, lack light while absorbing reflections, captivated the photographer. It brought to mind Soulages’ ideology, which passed away in 2022.
As a result, all-black ensembles with a hint of Valentino’s heyday and glitz from the 1980s walked by, daywear and evening merging seamlessly due to the color’s strong attraction.

Fashionable home pieces were reinterpreted with a contemporary twist, for example, consider the dramatic black rosette embellishing a sleeve or the subtle skin peeking out from behind layers of silk. Athletic A-line skirts with tubular frills were also a hit.
Although the collection avoided the risk of feeling one-note, feathers, leather, sequins, and lace added slight textural tension, not quite enough to keep it from feeling that way.

Yet, the last set of dresses, which included a stunning floor-sweeping gown made of transparent chiffon, was a magnificent study in elegance. Poignantly scattered like a constellation of black stars, delicate ornaments were scattered across it.

2. Alexander Mcqueen’s New Beginnings
After 14 remarkable years of Sarah Burton, there was a lot of pressure on the relatively unknown 35-year-old designer from Dublin, McGirr, to present in this debut a vision and identity. Burton left large shoes to fill when she left McQueen last season. After the brand’s creative creator passed away suddenly and tragically, Burton weaved her story into the brand’s darkly romantic ethos.

Described as “rough opulence” and with the goal of “unveiling the animal within,” McGirr’s debut collection aligned with Alexander McQueen’s fundamental principles, which include a blend of Gothic charm, provocativeness, historical fashion references, and the brand’s signature dramatic tailoring.

A model wearing a darkly twisted black laminated garment that looked to swallow her hands whole opened the show. This startling picture of confinement recurred throughout the collection.
This idea of bound was repeated in the ropes that wound around the slender legs of jeans and the sturdy boots that transformed into the hooves, tails, and menacingly large leather coats of horses.
Still, there were times when designs bordered on garish, with patterned ancient Renaissance sleeve dresses and oversized knitwear resembling “car tires” that lacked the nuance of his predecessor.
Even though there were some dazzlingly bold moments in the collection, McGirr chose to play it safe rather than take the chance of making a mistake by pushing the boundaries.
Maybe this premiere would have been better served by a more intimate, low-key, and less stressful presentation style.

However, a surprising undercurrent of joy and whimsy emerged within the collection’s melancholic thoughts, best expressed by the mellifluous tune of his compatriot Enya’s “Sail Away” filling the air.
It brought a cheerful brightness to the room that was slightly mirrored in McGirr’s sometimes humorous designs.

3. Mugler’s Drama, Light, and Shadow Infused With Mist

During the Sunday night show, Mugler’s guests were mesmerized by the mist-filled theatrics.
The staging used dramatic elements such as strobe lights, smoke machines, and cascading drapes to convey drama.
Watched by celebrities like Brooklyn Beckham, layers of curtains dropped from the Lycee Carnot school atrium, where models used light and shadow to accentuate already outstanding appearances.
There was corsetry, asymmetry, and flesh everywhere.
Designer Casey Cadwallader has been pushing conventional fashion norms with a rigorous examination of the human form since his debut, using a strikingly erotic style. This autumn was no different.

Huge black tuxedos are worn with bras above naked torsos. The hems of body-hugging minidresses featured loose, billowing bands. There were many themes of hiding, such as transparent textiles that showed off nipples and cleverly positioned fabric portions that only offered modesty.

The American designer is still having a big impact on the Paris fashion scene.
He promoted diversity this season as well, displaying models of all ages, sizes, and ethnicities, including numerous plus-sized models. The stunning 63-year-old Farida Khelfa stole the show in a crimson-fringed poncho dress that was bright.

Incorporating digital components to produce captivating exhibitions that connect with a modern audience, Cadwallader’s presentations are renowned for fusing performance, art, and fashion.
This ensures that Mugler remains a prominent figure in today’s fashion discourse.

Content courtesy of Thomas Adamson from The Press Association & NFH