For Spring Summer 2024, Shiatzy Chen created a collection that intertwines the realms of Eastern and Western culture with an immersive take on Oriental mystery and a nod to age-old Chinese mythology.
Marking the designer’s 31st stint on the PFW schedule since her debut in 2008, the show was held at the Palais de Tokyo and was a homage to the theme of Mirage, an especially noteworthy tribute given that 2024 marks the year of the dragon.
As models walked the catwalk, which was adorned with ocean currents and multi-dimensional spaces to create the feel of an underwater seascape, there was a clear synergy between modern silhouettes but with the influence of Far East Asian design accents.
Brazillian artist Daniela Busarello, who bases herself in France in partnership with Victorie de Pourtalès, founder of French art studio 91.530 Le Marais, imagined the backdrop. The spectacle of an installation which drew inspiration from the collection was an abstract dragon, one of many motifs the designer referenced this season.
Impeccable taste and exquisite craftsmanship were at the core of Chen’s wardrobe for SS24, and her mastery of design was portrayed through both men’s and women’s staples. The designer had increased the number of men’s looks following the success of the brand’s menswear last season.
Clean-cut silhouettes were paired with embellishments and feathers in a palette that comprised blacks and white but with the odd pop of colour through a fuschia dress and a few porcelain blue looks. Many of the looks also borrowed patterns from oriental myths and legends, which emphasised Chen’s roots. Chen’s typically elegant designs were funked up for the younger customer by introducing contemporary shorts, vests, and tunics.
Text By Jaz Grewal.
In a nod to the artistic themes conveyed through his collections of late, Albert Kriemler made his Spring 2024 collection for Akris an homage to the late female artist Felice Rix-Ueno.
Awash with florals and abstract shapes synonymous with Rix-Ueno’s creations, Kriemler opened his show with numerous references to the late artist. A key example of which was a depiction of a poppy sketch, somewhat of a collection motif, emblazoned over a cocktail dress as the show’s opening look.
Bold colours and a handful more of prints from the archives of the artist’s work elevated the otherwise minimalist pieces, which oozed the classic Akris silhouette Kriemler has mastered.
Clean-cut suiting, feminine shapes and long dresses were key to the collection crafted from elegantly lightweight fabrics and pops of floral embroidery gave a welcome ray of spring, especially noting the sweltering weather for the time of year as Paris unveiled its Spring 2024 collection for Akris to what would usually be a black-coat-clad crowd.
Cue Summer and Akris delivered a collection of contemporary luxury essentials in a palette that evoked the timelessness of neutrals, blacks, yellow, a splash of red and a to-die-for shade of midnight blue.
Felice Lizzi Rix-Ueno was a textile and craft designer who in the early 20th century established herself as one of the most remarkable artists of the Wiener Werkstätte [Vienna Workshop] with her design poetry. Her work emphasizes a concept of “Fantasie” [Fantasy], as she liked to call it. For her it meant demonstrating imagination to achieve originality and that only inner creativity will lead to one’s identity, truly believing in the expressive possibilities of craft. I very much relate to her idea of craft a momentum. This collection is a dedication to Lizzi – and all women who amaze. Come to Lizzi Land!
‘I like fashion to surprise. It’s progress, it’s energy, it’s strength.’ Albert Kriemler
Marking the occasion of the Swiss heritage brand’s 100th anniversary, Albert Kriemler hosted a spectacle of a show in the gardens of the Palais de Tokyo as guests overlooked a backdrop of the Eiffel Tower and Ugo Rondinone’s iconic We Are Poems sculpture which arched over the pools of the gardens.
In a true homage to the timelessness synonymous with the House, Kriemler showed nine archive looks for the runway, two of which opened the show with the first look being the forever-staple Alpha coat, the first cashmere double-face wrap coat created by Albert’s father, Max Kriemler.
This followed with a look centred around Akris’ use of lace, which dates as far back as Albert’s designs of the 1980s, originally produced in Calais, he proclaims it impossible to find a lace of the same strength in today’s manufacture.
Nods to the archives were a continued theme throughout the collection which embodied a century of fashion along with the master of craftsmanship Akris is so well renowned.
A particular code reinvented for the collection was the hearts which appeared printed across a number of looks which were another ode to the past as the first print for Akris produced in 1989 by Gianpaolo Ghioldi in a representation of life and love.
The collection triumphed with a finale of vivid chiffon dresses, full-length in a rainbow of colours, with the final look quite literally depicting a rainbow.
Text by Jaz Grewal