History, Nature, Hyper-stimulation Lineage, and Digitalisation are a few of the many themes showcased in this year’s Paris F/W Menswear collections.

We have reached the end. The final stop to an extravagantly vibrant and honest season. Last but certainly not least, Paris did not disappoint, leaving us with so much to asses and converse about.

From Emily Adams Bode Aujla’s first womenswear drop and Jonathan Andersons’ speculative composition of resurrection in the modern world to Kim Jones’s homage to Yves Saint Laurent’s and Louis Vuitton’s first full collection design in the wake of Virgil Abloh’s passing.

Here is a roundup of what happened, what stood out and what was inspired!

Louis Vuitton – “A Coming of Age Spectacle”

Carrying late designer Virgil Abloh‘s legacy forward, KidSupers’ Colm Dillance unveiled a new chapter of Louis Vuitton. With Rosalia setting the tone, the show opened to a runway segmented to mimic rooms in a home. With models moving through a hospital room to a teenager’s bedroom, a coming-of-age narrative instantly hinted at the theme of new beginnings, new life, migration, development and change.

‘Disrupted design’ was the thought that came to mind: Blazers fastened with large buttons, Extravagant silhouettes like draped waists, puffed shoulders and ripped hemlines. A solemn concrete grey coat with whimsical spray-painted rainbow apples. Teddy bear textured outwear, embroidered puffer jackets and patchwork illustrations.

Playful, adolescence fueled the looks. It was a display of “Fascination imagination?”.


Eyes are covered by bold, assuming sunglasses, with suits delivering a single oversized eye, screen printed onto oversized sets – they call into question the idea of the Gaze.

Loewe – “An Act of Reduction”

Jonathan Anderson marked half of the week with a speculative marrying of ‘simplicity and absurdity’ in his LOEWE’s men’s show. Constantly pushing boundaries of fashion through new lenses, LOEWE’s latest line is theatrical, imaginative, experimental and truly avant-garde.

Combining grand artisan-beaten copper coats with satirical angel wings blouses, leather tank tops and silk boxers – the assortment of garments is a hard display of imagination. The collection thrives on juxtaposition, presenting softness at times, and rigid, confinement at others. 

Focused silhouettes and a reduced colour palette bring the collection’s rich materials—parchment, velvet, copper, leather, satin and wool—to the fore, “inspired by the work of contemporary American artist Julien Nguyen. Referencing early Renaissance painting and science fiction, Nguyen employs traditional media including oil, tempera, and gesso on bases of copper and vellum.”

Set on the outskirts of the city, showgoers entered a stark white room dominated by three original artworks created by Julien Nguyen. ‘They depicted the House model and muse, Nikos, in various emotional states, and underpinning his work, as usual, was the use of copper and vellum as a base for paintings’.



Crafted in collaboration with metal artist Elie Hirsch, the show’s steel jackets have been sculpted and hammered by hand to achieve its undulating fabric-like shape. The lightweight shell is then surface treated to enhance areas of light and shadow, resulting in a unique patina.

Bode – “Emily in Paris”

Emily in Paris: the phrase took on a whole other, very delightful, meaning at the Theatre du Chatelet. Almost everything about Emily Adams Bode Aujla’s show was sparkling, either literally or simply because of the ‘charm of her American family storytelling’.

The difficulty of Americans impressing Parisians with their style—well, is the running joke of Emily in Paris. The other Emily however passed with flying colours, moments into the show, exposing us to “a Cape Cod house, a yard with a picket fence, a garden gate suggesting the sea in the distance, and the stars and stripes hanging on a flagpole in the near distance.”

Bode Aujla looked for inspiration from her mother’s side – from her family, a 90-year-old lady from Massachusetts and America from1890s through to1940s. A Christmas tree dress, American-glamour ’30s/‘40s evening gowns, emerald green sequins and bright velvets – the collection was an ethereal experience from beginning to end.


“Emily continues to encourage us to think about ourselves as custodians of our clothing; that we should keep our clothing for a long time”

Born and Raised in Abu Dhabi, Palestinian creative Dujanah Jarrar reports on all things imaginative, immediate and intimate. Passionate about shifting perceptions and cultivating insight, her writings carry themes of cultural placement, identity and representation, exploring what innovative collaboration and creativity mean today.