Givenchy Goes Back to Its Storied Roots in Atelier Men’s Show in Paris

In times of self-searching and doubt, fashion houses often find comfort and power in going back to their roots to re-center and find their voice again. Givenchy, in the wake of the departure of designer Matthew M. Williams, did just that.

This season, the designer-less house held on Wednesday a menswear show at their Avenue Montaigne atelier, an archetypical couture setting. Models walked slowly past guests like in bygone decades, in a show whose emphasis was intensely on the clothes, rather than showmanship.

This season, there was no razzmatazz, no celebrities — just a pared-down audience, nibbling madeleines, Turkish delight, and sipping drinks around dinner tables. It was a small, sometimes nostalgic display that laid bare the finesse and power of the age-old house’s famed atelier, making for a collection brimming with style, finesse, and luxury.

GIVENCHY GETS ICONIC AND REVERENTIAL

In the very atelier where the late fashion legend Hubert de Givenchy once crafted his most iconic designs, Wednesday served as a poignant reminder of the house’s profound ties to couture. Givenchy’s design studio showcased fine tailoring with an array of suits featuring bare arms emerging gracefully through holes inserted at the suit's underarm, while sleeves flapped elegantly on top.

This design ethos paid homage to the founder’s affinity for innovative cuts. The color palette incorporated hues of blue, including Klein, pale, and navy, alongside gray and brown, honoring the founder’s distinctive preferences. However, the collection also embarked on explorations of sapphire, a color so beloved by de Givenchy that he saw it as an alternative to classic black.

It resulted in a muted color scheme for a relatively understated collection. Nevertheless, the simplicity of the designs did not equate to a lack of interest. Among the thoughtful minimalist creations was a pearl loose tunic top, part-Star Trek, part-ER, paired with fur chapka headwear. The melodious strains of Leonard Cohen’s “Take This Waltz” wrapped the collection in a nostalgic aura.

One particularly striking element was the reimagining of the iconic blouse blanche, capturing the essence of workwear with a couture twist. Coats and suits sported incisions reminiscent of de Givenchy’s penchant for capes.

However, amidst this transitional phase for Givenchy, certain designs, while luxurious, occasionally felt somewhat disconnected, mirroring the house’s ongoing journey to redefine itself. The show left fashion enthusiasts anticipating its next move — the choice of a successor to Williams, who will undoubtedly have the challenge of steering this venerable fashion house into its next chapter.

BOTTER BLASTS BOLD CARIBBEAN FLARE INTO ECLECTIC SHOW

Botter, renowned for its “Caribbean couture,” unveiled an eclectic mix that blurred the lines between sartorial finesse and sportswear, peppered with their signature quirks. The collection by designers Rushemy Botter and Lisi Herrebrugh was a vibrant demonstration of their knack for fusing sustainability with avant-garde fashion, a philosophy that earned them the 2022 ANDAM Grand Prize.

The show featured a brown, nipped-shouldered ensemble with minimalist lines, uniquely accessorized with a woolen beanie proudly declaring “Caribbean.” This piece, more than just a headwear, was a nod to the designer’s heritage.

In striking contrast, a classic black tie and white shirt were paired with urban sneakers, embodying Botter’s flair for fusing formalwear with casual elements. Bursts of eye-popping yellow in a loose tunic gown brought the Caribbean’s vibrancy to Paris.

A recurring theme in the co-ed show was the haphazard and voluminous layering of garments in divergent hues, creating a funky, energetic vibe on the runway. This approach, emblematic of Botter’s innovative spirit, has set them apart in the fashion world, showcasing an aesthetic that marries sustainability with cultural richness.

As models sashayed down the runway in this collection, Botter’s vision for an environmentally conscious and culturally diverse fashion industry was crystal clear. The collection was not just a display of garments, but rather a celebration of the brand’s journey in redefining the norms of fashion with a sustainable approach.

EGONLAB ROCKS PARIS WITH FIERCE BLACKS

In a display of futurism meets fashion, Egonlab’s latest collection lit up Paris Fashion Week with its innovative designs -- and dramatic lighting. The Wednesday show saw a runway bathed in dappled beams, setting the stage for a series of fierce, black men’s looks that commanded attention with their oversized, harsh shoulders.

Designers Florentin Glemarec and Kevin Nompeix, known for their blend of artistry and boldness, presented a show that seamlessly combined elements of the past and future. A standout piece was a black tuxedo, nipped at the waist, creating an Asiatic silhouette that epitomized East meets West. Gothic Glam Rock met 70s flair in a billowing sheeny leather trench coat adorned with ridiculously long tassels, evoking a warrior-like presence.

The collection then took a softer turn, with moments of blossoming florals and total look denim, showcasing Egonlab’s versatility and commitment to diverse expression.

L.L. Bean created it 80 years ago to haul heavy blocks of ice. Now it's a must-have summer fashion accessory, The Associated Press reported.

The simple, sturdy canvas bag called the Boat and Tote is having an extended moment 80 years after its introduction, thanks to a social media trend in which they're monogrammed with ironic or flashy phrases.

New Yorker Gracie Wiener helped get it started by ordering her humble bags from L.L. Bean monogrammed with “Psycho” and then “Prada,” the pricey Italian luxury brand, instead of just her name or initials, and posting about them on Instagram. Then others began showcasing their own unique bags on TikTok.

Soon, it wasn’t enough to have a bag monogrammed with “Schlepper,” “HOT MESS,” “slayyyy” or “cool mom.” Customers began testing the limits of the human censors in L.L. Bean’s monogram department, which bans profanity “or other objectionable words or phrases,” with more provocative wording like “Bite me,” “Dum Blonde” and “Ambitchous.”

Social media fueled the surge, just as it did for Stanley’s tumblers and Trader Joe’s $2.99 canvas bags, which were once selling on eBay for $200, said Beth Goldstein, an analyst at Circana, which tracks consumer spending and trends.
The tote’s revival came at a time when price-conscious consumers were forgoing expensive handbags, sales of which have weakened, and L.L. Bean’s bag fit the bill as a functional item that’s trendy precisely because it’s not trendy, she said. L.L. Bean's regular bags top out at about $55, though some fancier versions cost upward of $100.
“There’s a trend toward the utilitarian, the simple things and more accessible price points,” she said, and the customization added to the appeal: “Status items don’t have to be designer price points.”

L.L. Bean’s tote was first advertised in a catalog as Bean’s Ice Carrier in 1944 during World War II, when ice chests were common. Then they disappeared before being reintroduced in 1965 as the Boat and Tote.

These days, they’re still made in Maine and are still capable of hauling 500 pounds of ice, but they are far more likely to carry laptops, headphones, groceries, books, beach gear, travel essentials and other common items.

Those snarky, pop-oriented phrases transformed them into a sassy essential and helped them spread beyond Maine, Massachusetts’ Cape Cod and other New England enclaves to places like Los Angeles and New York City, where fashionistas like Gwyneth Paltrow, Reese Witherspoon and Sarah Jessica Parker are toting them — but not necessarily brandished with ironic phrases.

“It’s just one of those things that makes people smile and makes people laugh, and it’s unexpected,” said Wiener, who got it all started with her @ironicboatandtote Instagram page, which she started as a fun side hustle from her job as social media manager for Air Mail, a digital publication launched by former Vanity Fair Editor-in-Chief Graydon Carter.

The folks at L.L. Bean were both stunned and pleased by the continuing growth. For the past two years, the Boat and Tote has been L.L. Bean’s No. 1 contributor to luring in new customers, and sales grew 64% from fiscal years 2021 to 2023, spokesperson Amanda Hannah said.

The surge in popularity is reminiscent of L.L. Bean’s traditional hunting shoe, the iconic staple for trudging through rain and muck, which enjoyed its own moment a few years back, driven by college students.

Givenchy Goes Back to Its Storied Roots in Atelier Men’s Show in Paris