Runway Shows

Best of Fall 2024 Paris Fashion Week: my 10 favorite collections

By  | 

Loewe Fall 2024. Sorry to be basic, but I must blurt this out: Jonathan Anderson showed a Loewe collection for fall that was, frankly, stuffed with brilliant clothes—chic flowing cutaway jersey dresses, immaculate tailcoats and tailoring, flower and vegetable prints, balloon-y pants, novelty amusement accessories, and bluntly ideal versions of the best, non-messed-about shearling aviator jackets and double-breasted military leather coats in the business.
That’s what I saw. Anderson is effortlessly at the peak of his game. His ability to nail avant-garde pairings of things that ought not go together but suddenly do, his intense orchestration of craft, and his never forgetting of the über-ordinary wearable item creates a unique language of fashion thrills and practicality.
(Source via

One season for the books…


Dries Van Noten Fall 2024. Dries Van Noten gave his show a name: The Woman Who Dares to Cut Her Own Fringe. “This means for me audacity, but also considered… She is in one way really tender but also very strong.” This too: “It’s about style and not so much about fashion.”
For nearly 40 years Van Noten has been about style more than fashion. His collections are recognizable from season to season despite the fact that his m.o. has always been to combine unlikely things: florals with army fatigues, say, or, in the case of fall 2024: gray marl sweatshirt fabric with iridescent sequins, and lavender silk duchess with faded denim jeans.
The show started with a camel coat, double-breasted with a stand-up collar and rounded sleeves, but its neutral minimalism was a ruse. Though there were excellent dark suits, this was a collection of many colors, often in surprising pairings or trios, even better if Van Noten could add strange textures ranging from shaggy fur-like mohairs to tinselly metallics. “It’s trial and error,” he said. “There is no process and there is especially not a system. The last thing that I want is a system because then it feels organized. These things need to happen in a very spontaneous way.” The only rule was a requirement to break the rules.
(Source via


Courrèges Fall 2024. Between the sound of a woman’s breathing, a white, tensile installation that responded, swelled, rose and fell with it, and the slits of the low center-front pockets which every model had one hand tucked into—well! Nicolas di Felice was so clearly talking about the pleasures of sex and fashion at his Courrèges show that his audience was left open-mouthed. “I wanted to work around intimacy,” the designer said. “Something sensual and sensitive. Trying to reconnect with emotion, in a way.”
It stimulated a lot of hilarity amongst female observers afterwards over how to name the masturbatory pocket-action. Google supplied some semantic starters. Should it be Le Frig or Le Shlick? In the old days—the 1960s, when André Courrèges was causing a Space Age youth revolution—there were haircuts and dances that were named things like that. The difference with Di Felice is that his frank way of transmitting eroticism wasn’t a retro gimmick at all. With the exception of a single instance of breast-visibility, all of the looks managed to be covered up, yet eloquently perverse at the same time.
(Source via


Undercover Fall 2024. Sometimes a show just hits, and this Undercover show hit deeply. Jun Takahashi is one of fashion’s most sensitive designers, a quality he made vividly clear last season with a collection about personal grief. “He feels like he’s stuck in the world, but he wants to release himself,” his interpreter said at the time. This season he explained he was thinking about everyday life—the preciousness of the commonplace and the value of ritual.

The change of heart came down to a movie. Backstage he asked the crowd of reporters if we’d seen Perfect Days, a new film from Wim Wenders about a Tokyo toilet cleaner named Hirayama who’s remarkably sanguine about life—finding beauty in his books, the tapes he plays on his commute, and the photos he takes of trees in parks. “Next time is next time, now is now,” he counsels his niece in a preview I found on YouTube. Takahashi was so moved he asked Wenders (who made a cameo on Yohji Yamamoto’s men’s runway last month) to write and read a poem for his soundtrack about a woman not unlike Hirayama in her approach to life.
(Source via


Schiaparelli Fall 2024. The crowd lining both sides of the narrow pathway into Schiaparelli’s Place Vendôme venue was hundreds of people deep. The irony is not that there were no celebrities at Daniel Roseberry’s show (there were, but they were minor ones): the collection was conceived and developed intentionally without them in mind.
“For the past few years the word visibility has come up,” Roseberry said at a preview in the Schiaparelli salons. His runway coups and front row gets have made the brand as visible as its significantly larger and better known competitors. But having done so, he’s moving on to another goal: “It’s more about adding a layer of legitimacy to the way people think about the house,” he said. “So that when you think of Schiaparelli you don’t just think of celebrities, you don’t just think of couture. You also think of everyday pieces that you could be wearing right now.”
(Source via


Paco Rabanne Fall 2024. The subject of ‘everyday dressing’ is a theme running through this entire season—part of a fashion zeitgeist that has designers challenged to find a useful relevance for clothes in extreme times. Julien Dossena is one of those who’s come back to reality, with a casual-cool collection popping with tons of separates.
“I was craving just to do clothes. Maybe because of the climate of the world,” he said.
So instead of another off-world Rabanne fantasia, this season he’d been inspired by looking “at how girls are dressed when I see them walking around Paris, and on the metro coming to work every day,” he said. “I was really interested in just observing people. It’s a sort of collage of stuff, mixing everything together; a personal kind of intimacy with what makes people most individual.” The pick-and-mix of it, layers upon layers of cardigans, sweaters, miniskirts, shirts, jackets, trousers, and biker overalls, was an object lesson in how to make a zillion clashing patterns work together as if you haven’t tried too hard.
(Source via


Isabel Marant Fall 2024. “We don’t do quiet luxury,” Isabel Marant said at a recent preview of her fall 2024 collection. “We do unquiet luxury.” With that, Marant gave one of her glorious, throaty laughs. And you know what, she’s right. There hasn’t ever really been a place in the Marantverse for an austerely anonymous camel cashmere sweater, so polite and always minding its manners, never wanting to offend—boring—or some utterly minimal/severely plain/investment smugly written all over it black dressing gown coat that looks like a Mother Superior’s bathrobe. That said, at the end of the day, there is some crossover between quiet and unquiet, specifically the idea that whatever you buy into, it should stick around and last, because you loooove wearing it—and you want people to know that you loooove wearing it.
(Source via


Valentino Fall 2024: The Valentino fall women’s ready to wear ought to be viewed on a continuum with what Pierpaolo Piccioli was saying about dismantling toxic masculinity in his menswear collection, by softening tailored suits with traditional couture techniques. For women, his push for gender parity integrated tailoring into Valentino’s classically delicate world in a collection entirely in black “in order to resignify all of the codes” from Valentino in the 1980s, “the ruffles, the bows, all the elements of femininity of Valentino, giving them a new power.”
(Source via


Rokh Fall 2024.
(Source via


Stella McCartney Winter 2024 collection. #STELLAWINTER24: A message from Mother Earth.

(Source via

shop the brands:

trending on laiamagazine…

Leave a Reply

Tu dirección de correo electrónico no será publicada. Los campos obligatorios están marcados con *