Paris Fashion Week 2023 | Sincura Tickets (2024)

PARIS FASHION WEEK OVERVIEW

The next Paris Fashion Week will be September/October 2023, which will include shows from the big designers - Chanel, Christian Dior, Givenchy - who will exhibit their collections in iconic Parisian locations such as the Grand Palais or the Espace Eiffel.

The smaller designers are left with less high-profile, but often cooler, locations such as nightclubs and warehouses.

Christian Dior's presence at Paris Fashion Week is an eagerly anticipated spectacle that never fails to captivate the global fashion community. Renowned for its timeless elegance and innovative designs, the luxury fashion house consistently pushes the boundaries of creativity on the runway. Dior's shows at Paris Fashion Week are a showcase of artistry, where intricate craftsmanship meets visionary design concepts.

From the grandeur of the venue to the carefully curated ensembles, each Dior presentation weaves a narrative that pays homage to the brand's heritage while embracing contemporary influences. The runway becomes a stage for sartorial masterpieces, unveiling collections that evoke emotion, spark trends, and set the tone for the fashion season ahead.

Dior's participation at Paris Fashion Week is more than just a runway show; it's a celebration of luxury, art, and culture that leaves an indelible mark on the fashion landscape.

Balenciaga's shows at Paris Fashion Week are highly anticipated and consistently push the boundaries of innovation and creativity in the world of fashion. Renowned for their avant-garde designs and distinctive aesthetic, Balenciaga's runway presentations captivate global audiences and set trends that reverberate throughout the industry.

Each show is a meticulously choreographed spectacle that showcases the brand's ability to seamlessly blend art, fashion, and storytelling. With a penchant for bold silhouettes, unexpected materials, and thought-provoking concepts, Balenciaga continues to redefine what is possible on the runway, leaving a lasting impression on fashion enthusiasts and industry insiders alike.

As one of the most influential players in the haute couture scene, Balenciaga's presence at Paris Fashion Week is a must-watch for those who seek to witness the cutting edge of design and style.

Chanel's shows at Paris Fashion Week stand as a pinnacle of artistic elegance and creative ingenuity. With an illustrious history and a reputation for setting trends, Chanel consistently mesmerizes the fashion world with its innovative designs, impeccable craftsmanship, and iconic pieces.

These runway spectacles are much more than mere fashion presentations; they are transformative experiences that fuse art, culture, and luxury. Guided by the creative direction of the house's visionary designers, Chanel's shows unveil a seamless blend of classic sophistication and contemporary flair.

Attendees and enthusiasts from around the globe eagerly anticipate each season's unveiling, knowing that a Chanel show is a unique opportunity to witness the evolution of style and witness the embodiment of the brand's enduring legacy on one of the world's most prestigious fashion stages.

As always Paris Fashion Week ends with the chanel show on the final day.

Vauthier is known and loved by many, including the likes of Beyoncé, Miley, and Rihanna for his showstopping party looks. Renowned for his bold and avant-garde designs, Vauthier consistently pushes the boundaries of creativity, captivating audiences with his unique blend of edginess and sophistication.

His shows are eagerly anticipated events on the fashion calendar, where a fusion of opulent fabrics, intricate detailing, and impeccable tailoring take center stage. Each collection tells a compelling story, with his signature couture pieces exuding a sense of luxury and glamour that has made him a favorite among celebrities and fashion connoisseurs alike.

Alexandre Vauthier's Paris Fashion Week shows are a celebration of craftsmanship and imagination, redefining the concept of modern glamour with every stride down the runway.

There’s a new Schiaparelli shop-in-shop at Bergdorf Goodman in New York to christen. Roseberry’s giddy embrace of house founder Elsa Schiaparelli’s surreal aesthetic is red carpet gold, where more is always more. The bolder his haute couture creations have become, the bigger the celebrity coups. Who can forget the sight of Bella Hadid at the Cannes Film Festival this July in a daring plunge-front dress with only gold lungs covering her bare breasts?

Will the ready-to-wear that Bella watchers and otherwise curious Schiap shoppers encounter at Bergdorf’s be as cheeky? You better believe it. “People are coming to us as an alternative to the mass luxury houses,” said Roseberry. “They’re looking for something really strong.” So that’s what he’s prepared for spring. Schiaparelli’s Place Vendôme salons were organized by room, and first up was Roseberry’s wildly imaginative bijoux of body parts—ears, nose, eyes, lips, pierced nipples, and so on—and leather bags embellished with the same. His exaltation of the human form also took the shape of a gold-dipped resin bib molded from a model’s torso and suspended from a chain. He suggests wearing it solo under jackets, like a Gen Z dickey.

How surreal does it get? There’s an inflatable black leather bolero and matching belt, as well as an inflatable parka, complete with air valves; a fitted knit dress with raised details in the form of Salvador Dalí’s famous rib cage dress; and cone bras à la Gaultier every which way: in leather, denim, and silk arranged in swirls like the petals of a flower. The vibe, Roseberry said, was “David Lynch holiday.” Tailoring and outerwear, meanwhile, were classically cut, but treated to all manner of gilded body part baubles. “Nobody wants the black jackets without the nipples,” he noted.

Many of the co*cktail numbers had their beginnings in the couture, including a pair of sublimely draped black silk charmeuse dresses suspended from gold chokers. A cropped but boxy bolero with outsize lapels had a different starting point, Roseberry said. It was based on the jacket he made for playwright Jeremy O. Harris to wear to the Tonys last month. The words Schiap Hotel were stitched around the hem of a densely embellished bathrobe. Now that’s an idea; there’d be plenty of takers for a couple of hallucinatory days and nights in Roseberry’s world. Maybe Cardi B among them. Her appearance at Schiap headquarters yesterday caused quite a stir.

Like Jamiroquai in Center Stage, designer Matthew Williams has canned heat in his latest collection. That's partly a metaphor—the label's buzz was steady enough to lure millions to their livestream—and partly literal, as a row of Givenchy-branded gas tanks just hit their Paris runway. They were painted by the American artist Josh Smith, who called his recent gallery show "Emo Jungle" and transferred his signature imagery—including a groovy grim reaper and wavy white bones—onto Givenchy knitwear.

Then there were gowns, veiled like mist at the bottom, or spangled with paillettes to “explore the tension between extravagance and discipline,” according to the show notes. And Williams turned Jack-o-Lanterns into gilded, ghoul-faced purses—a cool subversion of Cinderella's pumpkin, as well as a wink to the internet's obsession with #SpookySeason.

There was so much to look at, but only one thing we'd nix: a few silver collars that mirrored the knots of a noose. Tragedies aren't trends, and anyway, Williams doesn't need shock tactics. As this collection proves, he already knows how to earn the public's attention.

Vuitton called this collection, “an invitation to le grand bal of time.” Tonight, the show notes claim, “time is of no consequence.” While certainly a storied brand in the luggage business for generations, LV does not have the extensive clothing archives other big name Parisian houses have. So when Nicolas Ghesquière takes a trip back through the ages it is through his own particular lens. And there are nods to other eras—oversized ’80s tux jackets, flowing hippie dresses that might have made Stevie Nicks swoon in the ’70s.

But then there are sparkling party dresses with interesting skirting that seems to jut out from the model's body that feel if not so right now, then perhaps futuristic. There are also hits of denim and polka dots in a stark black and white palette — but don’t get it twisted. This isn’t a serious matter, these are clothes with a joyful disposition. It’s about “a vibrant flow of style. The night will be all the more beautiful,” the notes continue. And so it is.

It was 40 years ago this year that Yohji Yamamoto debuted on the Paris runway. Few designers let an anniversary of that magnitude go uncelebrated, but unlike many of his peers, Yamamoto is committed to his own point of view and unperturbed by the fluctuations of the industry. But at a spry 77 he’s not averse to change—or to humor. Speaking about his concerns around global warming after the show, he pointed to the collection’s short skirts. “It’s the first time I’ve done minis,” he said with a chuckle.

There were also open necklines and bare arms—the better to dress in hotter weather—and natural fibers like linen and cotton. Those fabrics gave the collection a more casual mien that usual, but the draping, twisting, tucking, and pleating that are the Yohji signatures were far from workaday. The opening dresses were elegant in their bias-cut asymmetry. Though they glided out on sneakers and other flat shoes, they could easily stand up to higher heels should the occasion require.

A group of black trenches followed. They were more orderly, but they weren’t conventional, with their short sleeves and dramatic storm flaps. Ever the contrarian, Yamamoto paired the minis with understated, rather plain button-downs. They were followed by a couple of shapely black-and-white jackets worn with stirrup leggings (both very now and very then) and a truly lovely series of dresses in cascades of expanding and collapsing draped volumes, some in mixed prints.

The show ended with a trio of models in hoop skirts with exposed undercarriages. They conjured a pair of collections from peak-era Yamamoto a little over 20 years ago, only where those hoop skirts were famously made with inflatable rafts or bamboo that looked light enough to float, these were crisscrossed with metal bars. We’re living through heavy times, but for the length of the show Yamamoto’s innate grace could make you forget.

"Neurotic, psychedelic, completely hysterical." Sounds like all of us these past couple of years, but it's actually Jonathan Anderson's take on spring 2022 for Loewe. If this feels like a turning point for the brand — one marked by experimentation, surrealism, and artfulness — that's because it is.

The designer looked to Mannerist Renaissance painter Pontormo, exploring notions of draping, sculpting, and color "by way of torsions, diversions and distortions," according to the show notes. Fabric was twisted and turned, jackets were worn backward and imbued with sequins, track pants were draped with yards of fabric, slim-fit dresses showcased protruding elements, and long gowns emanated from torsos cast in resin. It was a visual trip, and sometimes we didn't quite know exactly what we were seeing. Denim looks followed by a parade of party-ready pastel-accented dresses finished the show—taking this trip back into the real world, where a beautiful dress and a great bag remain hot commodities.

Nadège Vanhee-Cybulski took guests on a journey for Hermès spring 2022. To start, the show took place inside an airport hangar, with a real jet landing behind the designer as she took her final bow. The brand showcased classic craftsmanship with an edge of cool. There were leather-trimmed shift dresses, cut loose and short.

Lush leather crop tops —and there were many —were paired with silk printed shorts. Platform sandals worn with matching leather socks echoed the designer’s modern take on luxe minimalism, as did the slouchy pants with the just-right paper bag waists.

Sure, all the codes of the house were there, but Vanhee-Cybulsk’s Hermès also appeals to those who like to get a little experimental, whether that means opting for a monochromatic leather mini set or a black leather halter top.

Acne Studios may be a go-to for grown-up denim, but here in Paris, the beloved Swedish brand is gunning for the youth vote. It's happening with super-sheer flutters and mega-platform sandals, along with peek-a-boob tops and exquisite embroidered corsets.

The brand said its latest collection is “a clash between hyper-realistic and historical references,” which might be a reference to the bonnets … or to the rave cave party clothes that harken way back to the '90s, which were—gasp—actually 30 years ago. And with that realization, we'll be hiding in Acne's new flame leather trench coat until further notice.

To put it plainly, Miuccia Prada knows what’s up. The fashion legend summoned a new class of starlets—Halle Bailey, Rowan Blanchard, Bella Poarch—and enrolled them in a 50-look masterclass on how to acknowledge trends, then defy the sh*t out of them.

She called the show “an exercise in referencing and researching reality, using the existing to create the new.” Translation: the Y2k trinity of abs + pelvic bone + designer logo was subverted into slashed khaki skirts, stiff cotton monograms, and '50s co*cktail sheaths with boxer briefs skimming the hems. You could see the scrappy austerity and wild willfulness of high school uniforms gone wrong (or right?), and a way to define “newness” without discarding what's already in our closets.

We’ve all got oxford shirts and chinos from Before Times to revamp, right? But as usual with Miu Miu, the coolest moment was also the quietest: When Mrs. Prada took her runway bow, she kept her KN95 mask visible on her sleeve... and while the pointy-toed flats from this catwalk were A-level designs, the nod to science and reason was the ultimate status accessory.

Yesterday in the Metaverse, Rick Owens dropped an NFT collection with rapper Tommy Cash. Today in Paris, things came back to flesh and blood, as Owens sent his wife (and muse, and business partner, and asteroid goddess) Michèle Lamy through the Palais de Tokyo in his opening look. The California artist called the collection "Fogachine," and sheer fabric swoops of black, gray, and red billowed in the wind like wildfire ash.

Behind the (literal) smoke and mirrors of the runway set, there were also laser-cut bodysuits that were barely—but beautifully—holding it all together. If Owens turns this whole runway show into GIFs and sells it with Bitcoin, there will be plenty of virtual takers. But why live in the cloud (or the clouds) when crystal spike heels and hoodie capelets bring some delicate glamour down to earth?

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