Following the acclaimed Saint Laurent Fall/Winter 2023 collection, Anthony Vaccarello continues the "one piece makes a collection" approach and is more straightforward, "I almost don't want to do anything, I see too much stuff, too much embroidery, too many decorative elements, I wanted to remove all that and do what was necessary to start a new chapter for Saint Laurent with a clean canvas."

This time, he chose to look at the Saharienne jacket launched by Yves Saint Laurent in 1967, based on the color and material changes, but at the same time stay true to the original intention of the design - to give women the power of freedom and liberation.

On a single cotton and linen material, olive, maroon, sand, chalk and other monochrome shapes throughout the show. When it comes to accessories, bold metal earrings and bracelets still stand out, while leather caps inspired by the identity of legendary aviators Amelia Earhart and Adrienne Bolland, aviator sunglasses and leather gloves reinforce a sense of neutrality and power. Make the spirit of Mr. Yves Saint Laurent active in the current fashion system.

There are those who continue the success of previous seasons, and those who choose to boldly change their existing style, and Matthew M. Williams, creative director of Givenchy, is one of the latter.

Not long ago, Givenchy and Tiffany & Co. had a dreamy interaction at a jewelry event, which once again recalled the era when Givenchy and Audrey Hepburn formed an elegant classic side by side.

This may be Williams's "backtracking" signal to the outside world. For the spring/Summer 2024 show, his signature functional styles and accessories were replaced by soft and gentle fabrics and classical silhouettes. With the help of stylist Carine Roitfeld, the models looked like actors from a 1960s movie. But the pearls and crisp cuts seem to remind us that this is not a copy of Hubert de Givenchy, and Williams is trying to find a new way to live with the brand.

From the New York Fashion Week gong in early September, to London, Milan, until the Paris show, the most discussed keyword in the crowd is the word "real wear".

This may reflect a more down-to-earth, rational expectation in the current environment, but even so, many designers hope to bring a little fresh interest to everyday looks.

Valentino, which has always been known for its gorgeous dresses, is quietly making a change. This season, Pierpaolo Piccioli hopes to return the freedom of dress to women. "We must maintain the freedom of women to express themselves, to express their bodies in a very free way."

The concrete practice is reflected in the transformation of the basic style, from the wide white T-shirt and jeans to the comfortable mini skirt, the flower pattern under the close examination is made by the three-dimensional cutting of the fabric, "I don't want to use embroidery as a decoration, but as a structure, it becomes a fabric in itself."

The female body looms over the unique structure of the fashion, "Beauty and elegance are what Valentino's work represents. I think we can keep that, but also show the body in a different, modern way, without being sexy for someone else's sake." Piccioli certainly did.

As the final show of this season's Paris Fashion Week, Miu Miu has been very popular for several seasons.

In this turbulent and unpredictable fashion season, it is fitting to end Paris with Miuccia Prada's critical perspective. As expected, Miuccia's passion for eccentric intellectual image once again surprised us, "embrace unique personality, enjoy the joy of life" is Miu Miu wrote for this season's show note.

The models are like strange students in a hurry, random hairstyles, slightly dull retro optical frames, a variety of seemingly irregular but extremely comfortable in color, a handbag with an overflow in the hand, and colorful band-Aids attached to the feet, all seem to restore the more fashionable us in life. The brand's iconic logo polo shirt, short suit jacket, and low-rise miniskirt are not absent, continuing to lead the definition of fashion in the next spring.

In a blink of an eye, Jonathan Anderson also welcomed his tenth year at Loewe.

In 10 years, he has transformed the Spanish brand, known for its aggressive leather craftsmanship, into a cultural icon that lives with The Times.

Especially in the post-pandemic era, Anderson has always been looking for innovations in everyday clothing, and the creative gimmicks have never been more approachable.

This season, he chose to capture the unnoticed moments in the making and wearing process, such as the enlarged pins around the model's waist and chest, and the super-high-waisted pants, which are the opposite of the current millennial style of low-rise pants. How can you twist some features and make it deja vu and yet be subversive?" Anderson said.

Obviously, the pieces in these shows that have been enlarged and compressed to the extreme are the perfect material to ignite social media discussion, helping Loewe to create a continuously updated media spectacle, and commercial success will naturally follow.

Under a stage set draped in red velvet, Demna introduces us to his closest circle of friends.

The opening model is Demna's mother Ella, the closing model is his partner, the musician BFRND, which also includes his friends and colleagues, all faces have some degree of emotional resonance with them, different from the standardized definition of models, they also represent the interweaving of diverse cultures on the show. Accompanied by Isabelle Huppert's live recitation of the sound effects - how to make a men's suit jacket.

Taking interweaving as a clue, Demna also focuses on the transformation of retro clothing in the design, deconstructing and reorganizing the existing clothing. For example, the opening style is disassembled and assembled with 3 trench coats, and the closing style is a dress made of 7 wedding dresses from the last century after cutting, layering and stacking. While retaining the original features, Demna also makes a series of dresses. The collision between the old and the new, the collision between the classical and the modern is impressive.

There is no doubt that after the storm, Demna would like to return to his original heart of making clothes, abandon the suspension of gimmicks, and conquer the fashion industry with emotions, and his efforts are obvious to all.