The Best Looks Straight Off the Paris Runways

Fashion, News & Trends, Runway

Words by Kerry Pieri, Kristen Bateman, Faran Krentcil, Alison Cohn and Leah Melby Clinton.

COURTESY OF ALEXANDER MCQUEEN

As always, fashion month is wrapping up in Paris—and some might say we’ve saved the best for last. See all the standout looks coming from the top spring 2022 collections below, from Dior and Saint Laurent to Vuitton and Chanel, and all the shows in between.

Alexander McQueen

“The girls were storm chasers,” says Alexander McQueen creative director Sarah Burton, describing the mood of her new collection that embodies the crackling excitement of stepping back out into the world—a world that also feels incredibly fraught. For her first in-person show in 18 odd months, she traded the gilded environs of Paris (where the British house usually shows) for an East London parking garage. The reusable clear bubble tent designed by architect Smiljan Radic offered panoramic views of the city that Burton calls home. The cloud prints which covered several poly taffeta and poly faille gowns and came in shades evocatively named “blue sky,” “stormy sky,” and “nightfall” were photos transfers of images shot from the rooftop of her studio. Burton’s weather enthusiasts came ready to brave the elements, layering diaphanous net skirts with cropped aviator jackets and tailored coats. “I felt like it was about this idea of the uncontrollable,” she explained. “You don’t know what’s it going to be so you have to be brave and deal with it. Chase danger, face danger, see beauty—all of it.” —Alison S. Cohn

Lacoste

There’s sporty and there’s sport-adjacent, and the argument stands to be made that Lacoste is in the latter camp. With DNA firmly rooted on the court, the brand perpetually toys with athletic shapes and fabrications while remaining free from any sort of pressure to be true-blue sportswear. This season was no different, with Louise Trotter experimenting with jerseys and wide-pleated skirts that could see some action—or not. Varsity sweaters and polos might technically be athletic, but they’ve also earned standing as sartorial statements on their own. Layered, assembled, or matched in clay-court fashion, each piece is ready for however you play the game. —Leah Melby Clinton

AZ Factory

Alber Elbaz was a joybomb of a person. He believed in the power of feeling pretty, and the strength of a favorite dress—not just for some women, but for all. You saw it in his Lanvin x H&M collection of 2010, and later with AZ Factory, which Elbaz launched in January to “develop solutions for women in our times.” After the designer tragically passed from Covid-19 in April, his team created 25 looks that fully fulfilled his mission. The clothes blended Elbaz’s frothy fantasy pieces with black leggings and big jewelry—the ultimate expression of Zoom Glam, and a useful solution indeed to the daily meh of WFH style. And if we’re lucky enough to venture out on the town? There were gowns for that, too. There were looks by fashion giants worldwide that fêted Elbaz’s legacy, and—in the case of Rosie Assoulin, Ralph Lauren, and Saint Laurent—his signature bowtie and spectacles. The title of the show was Love Brings Love, and yes, Monsieur Elbaz did just that. I’m not crying, you’re cr—fine, we’re all crying. And we should be. —Faran Krentcil

Louis Vuitton

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. —Kerry Pieri

Miu Miu

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 cocktail 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. —Faran Krentcil

Chanel

The bathing suit as top reached its apotheosis at Chanel, where the itsy bitty bikinis seen on many runways this season were worn with with the maison’s signature bouclé miniskirts. “I used to love the sound of flashbulbs going off at the shows in the eighties, when the models were on a raised runway,” Virginie Viard said in her show notes of the collection’s sexy, athletic vibe. “I wanted to recapture that emotion.” High-cut maillots in gold or white with black trimmings were accompanied by big shopper bags that made for the ultimate beach-luxe pairing. Short dresses in pink or mauve tweed, jackets embellished with multicolor crochet, and floaty black chiffon maxi dresses and skirts with big, colorful butterfly prints added further notes of glamorous escapism. —Alison S. Cohn

Giambattista Valli

Fashion, to a degree, can be all about shock value. Outside the world of Haute Couture, it’s sometimes not enough to be dreamy, feminine, romantic, or delicate—but Giambattista Valli clearly feels differently. Valli is one to focus on his customer first, and his fanbase is ever-growing, obsessed with his diaphanous ruffles, plays on volume, and an affinity for girly details. This collection had a touch of edge and a dose of swagger in the form of sweet suiting, skin-bearing separates, and blouson silhouettes, but it was still for the Valli girl—the one who never leaves the house without lipstick and loves all things floral. There was more ivory in the color palette this season as well, perhaps as an ode to Valli’s longtime bridal base. The designer officially launched bridal via his Love Collection this season, and the collection’s little white and pastel looks could suit the rehearsal dinner, after-party, or brunch surrounding the ceremony. —Carrie Goldberg

Akris

Albert Kriemler started with a simple reference point this season, the apron. Rather than looking at it as a symbol of oppression or of a profession, the designer notes that there’s something “protective and powerful about it.” Like any uniform, putting on an apron is almost innate, it’s effortless. That ease followed by the dynamic nature of the garment (given that it can be worn and tied in any number of ways) inspired Kriemler to tap it as a starting point for Spring 2022, splicing skirts over pants, layering dresses on top of trousers for evening, and a layered blazer that feels sexy for a night out but appropriate for the office upon return to work. After a year spent indoors cooking almost every meal, the inspiration felt apropos and analogous for our desire to transition the protective nature of our homes to the newly-reopened outside world—in style, of course. —Carrie Goldberg

Stella McCartney

This morning in Paris, Stella McCartney dared women to “redefine sexiness through feelings of softness and lightness.” To do it, she offered a few dizzying new choices for her feel-the-future world. There are clingy knits with ribcage reveals, slouchy slacks in Crayola colors, parachute parkas that double as dresses, and sequin body stockings that challenge the reign of the naked dress. So basically, whether you’re doing boardroom work or dance floor werk, she’s got you covered. She’s also got a new bag—the Frayme Milo, made entirely from mycelium, aka “mushroom leather”—that’s already swinging from the arms of Demi Moore and Ella Emhoff. The bag is amazing. The clothes are amazing. Now we need to see them on women of all shapes and sizes, and not just on industry dream girls like Ashley Radjarame and Fran Summers. (Though, yes, they looked spectacular.) —Faran Krentcil

 Ann Demeulemeester

Shades of gray exist in our lives, but not at Ann Demeulemeester. The Belgian fashion house went full black-and-white this season to honor “modernity in the pureness of tailoring.” That’s an intellectual way of saying “we know how to build OG minimal clothes from the Antwerp 6; just sit tight until you see them.” Of course, once you do, you might sprint home and change your entire closet to align with the elegant binary of an A.D. seam. Such is the danger in slouchy leather skirts and slinky cotton dresses, embellished with spare French phrases that read “love is an action” and “tell your children your dreams.” Rumor has it Demeulemeester scrawled the words on the pieces herself—a benediction of sorts as we all try to get dressed, and get oriented, on a new page of the world. —Faran Krentcil

Givenchy

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. —Faran Krentcil

Lanvin

If American pop culture is a candy apple, Lanvin’s latest collection is an organic cider cronut. The flavor profile is close to the snap, crackle, pop of our televised heroes and villains, but way more expensive, and complex, too. Designer Bruno Sialelli did everything right with his “Comic Book” collection by licensing Batman, riffing on Warhol flowers, bedazzling bags with Judith Leiber, and even shredding silk to look like tinsel or crepe paper. But it was all simply too luxe to fit into the “Whiz! Bang!” world of Gotham City. (Even the Batmobile purse looked like it had been sculpted by an Italian master.) That’s better in the long run, because we don’t need another fashion riff on comic book culture—but gosh, we could use some beautiful clothes to wear when we realize we should be our own heroes (in platform heels, no less). —Faran Krentcil

Balenciaga

Balenciaga introduced a new version of reality to fashion week. In lieu of a spring 2022 show, celebs, models and guests all arrived to the Théâtre du Châtelet and walked the red carpet. Naomi Campbell and Amber Valletta strutted alongside Cardi B, plus the regular cast of models. The audience was, in fact, the show, as industry insiders sat inside and watched the arrivals on a big screen. But it didn’t take long for everyone to realize that this was all building up for a real premiere that spanned more than just a fashion show. The brand screened an episode of The Simpsons, complete with Homer, Marge, Bart and more decked out wearing the brand’s signature looks. Demna Gvasalia even made an appearance, along with other Balenciaga employees, as cartoon versions of themselves in the episode. As for the collection itself, there were all the Balenciaga signatures —oversized denim, head-to-toe prints, and graphic accessories included. The concept proved that it is indeed possible to do an arresting and memorable show that goes beyond a traditional runway or straight-forward video in a post-pandemic world. —Kristen Bateman

Hermès

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. —Kristen Bateman

Andreas Kronthaler for Vivienne Westwood

In the past year or so, Vivienne Westwood’s signature archive pieces have exploded in popularity. Not just for the the hardcore fashion fans, but for a generation that is most likely discovering the brand for the very first time, too. The spring 2022 Andreas Kronthaler for Vivienne Westwood show offered a mix of old and new, incorporating some classic motifs (like tartan) in a new way. Models walked down the runway in supersized versions of the pearl earrings so beloved by TikTok (maybe supersized necklaces will be next?). Corseted silhouettes jutted out of classic vampy dresses. But what made people in the audience reach for their phones were the models wearing, essentially, their own window frames: larger-than-life structures that stretched across and above the heads with curtain-like. Enormous chaps, giant jingle bell earrings and cat tees added to the sense of humor that is so distinct to the brand. —Kristen Bateman

Valentino

Past met future at Valentino Rendez-Vous, which marked the Roman house’s return to the Paris Fashion Week ready-to-wear calendar for the first time since February 2020. The open air show at the Carreau du Temple marketplace in the Marais was a joyful hit parade of Pierpaolo Piccoli’s stylistic signatures worn by models of all genders. These included polished denim (this season, in a new wide-leg cut), reimagined couture volumes like a shirt dress-cum-gown in highlighter yellow taffeta; and, of course, bold combinations of vivid, acrylic colors. The playful jellyfish tendrils from his most recent couture collection even made an appearance on a cocoon top and Bermuda shorts in electric blue and lime. The lineup also featured Valentino Archive re-editions including a white minidress with dramatically ruffled sleeves worn by Marisa Berenson in 1968 and long floral dresses photographed by Chris von Wangenheim in the 1970s. The rich palimpsest of decades and genres sent the message that these are clothes to buy now and love forever. —Alison S. Cohn

Loewe

“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. —Kerry Pieri

Chloé

Since Gabriela Hearst joined Chloé in 2020, the designer has made it her mission to inject the storied French house with a dose of sustainable style. That means products handcrafted by independent artisans, traceability and transparency requirements, and low-impact material, all of which were present in the spring 2022 collection. Hearst approached craft and color with a careful eye, elevating cashmere with hand-painted stripes, transforming bohemian carefree dresses with upcycled jewelry from other French fashion houses of the past, and patching hand-cut leathers together to resemble woven wonders. “I think people are forgetting the difference between industrialized product and something that is made by hand, and we wanted to show that is important,” Hearst said after the show, which took place overlooking the Seine. For the Chloé purists at heart, there was something for everyone. You needn’t look any further than the easy double-breasted ivory trench coats or breezy kaftans. —Kristen Bateman

Balmain

Olivier Rousteing’s 10th-anniversary show came with two unusual perks: a Doja Cat performance and a deeply personal two-page letter from the designer. The 36-year-old Kardashian bestie revealed his new collection is about “recovery and renewal,” noting, “a year ago, I suffered some painful burns in an accident. Hospital rooms, bandages, and gauze wraps suddenly became a big part of my life—and as I began sketching, I found myself translating those months of doctors and physical therapy into today’s many bands, weaves, and dangling straps.” He also included puffy accessories and quilted leather, as if to bubble-wrap the wearer from harm, whether it’s physical or emotional. Though if it’s just a bout of the blues, any one of the final looks—gem-encrusted party dresses worn by Milla Jovovich, Karen Elson, and more—should easily do the trick. —Faran Krentcil

Isabel Marant

A lot of designers in Paris seemed to have sun, sea, and skin on their minds, and Isabel Marant was no exception. Beachwear mixed with ready-to-wear in waves of barely-there crop tops, bikini tops worn over tiny tees, and high-waisted bathing suit bottoms paired with the kind of colorful shirts you might buy off the boardwalk or a sandy roadside shop in an exotic location. But Marant is still the queen of French-girl cool, and it wouldn’t be one of her collections without a dose of unexpected chic. The low-slung baggy jeans, in faded florals and embellished acid wash, were the shining North Star in guiding the collection through the rocky sea of often ambiguous beach-inspired runway shows this season. —Kristen Bateman

Raf Simons

It was all in the details for Raf Simons’s spring 2022 collection. Things that at first glance seemed classic, upon second look revealed reinvention. A typical subtle oversized work shirt was twisted and blown out of proportion. Long blazers seemed to be printed with graphics that looked like they were ripped from vintage rock band tees. Baseball caps turned into something entirely new with flowery draped edges, morphing into hybrid cloche hats. This season, maybe more than ever, there have been several street style stars experimenting with the idea of gender, some wearing dresses and skirts for the first time, and others trying ties paired with feminine dresses and baby tees. The same applies to fashion fans seen on TikTok. Simons distilled down some of his signature motifs. Suiting, bomber jackets, and all, mixing them together with motifs of the gender-fluid evolution the fashion world is finally embracing. —Kristen Bateman

Coperni

Coperni’s new collection is fantastic, but how you feel about it likely depends on your own connection to your body. That’s because the buzzy Paris label made 32 looks, each showing more skin than a dermatology conference. There were the full-sleeve, no-torso twist tops worn by Gigi Hadid and Paloma Elsesser. There were the sharp-seamed blazers that flashed flesh while covering shoulders. And there were textured skirts—some long, some short—built to flounce and shimmy whenever you walk. This was future-forward style for body-con acolytes of all shapes and genders, and it was fun to see it on display. What’s missing though? Visibly older bombshells (of all shapes and genders!) doing the same. To be fair, Gen X already owns some rave-babe staples from the first time around … but that cargo dress with pink chiffon? Totally new. Totally need it. —Faran Krentcil

Acne Studios

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. —Faran Krentcil

Dries Van Noten

An “explosion of bold color and emotion” kicked off Dries Van Noten this season, channeling bright shades reminiscent of India’s festival of color, Holi, into separates and eveningwear pieces finished with fringe, oversized bows, and painterly prints. Playing with proportion and silhouette is nothing new for Dries Van Noten, but the range this season stood out; the signature blouson shapes were there, but body-con moments peeked in, too—along with some looks that were infinitely more sculptural. Some of the collection took on an almost trippy vibe, an ode to moments of collective joy, like at festivals and with fireworks. This season, be it in color, texture, form, or technique, was all about joy for Van Noten—and welcoming it back into our lives in big and small ways. The result? A range of bright, wearable pieces that couldn’t help but bring a smile to one’s face. —Carrie Goldberg

Rochas

There’s a new name in town at Rochas—a very new name. After Alessandro Dell’Acqua oversaw the house for years, Charles de Valmorin, a recent graduate from École de la Chambre Syndicale de la Couture Parisienne, was hired to take the helm at age 24. His debut collection and first runway show seemed to be about exploring a number of themes. It started with flames, almost hinting to a phoenix rising; then, it parlayed into a group of gowns and looks with the designer’s own hand-drawn prints. The show capped off with a sliced and diced study of asymmetry and deconstruction. All merged together in a flame-esque color palette, peppered with neutrals and metallics. it seemed the designer was testing the waters, trying on Rochas for size to see how it fit all his facets. There were chic, red-carpet-worthy moments and others that seemed primed for street style savvy influencers; this show has our eyes on Valmorin and his evolution come Fall 2022 shows in February. —Carrie Goldberg

Courrèges

The future and the past will always blend together when you have a new name at the reins of a heritage house, and the juxtaposition was felt with Nicolas Di Felice’s latest for Courrèges. As is typical for the label, there was a futuristic vibe threaded throughout, yet a future that’s been stitched and cut together before (how wild, really, when you think we’ve been costuming “the future” the same for decades upon decades). Pop culture-wise, you could spot bits of The Matrix, Kim Possible, and The Jetsons all blending together, but nothing felt kitsch in the least. And perhaps that’s the thing about the future: The minute we start to plan or prep for it, we find it’s upon us. Whatever we’re drawn to now is the look of the future. —Leah Melby Clinton

Saint Laurent

This is a tale of a boy, and a girl, and a boy. Anthony Vaccarello mined the atelier-shaking effect Paloma Picasso had on Yves Saint Laurent for spring, exploring how her paradoxical take on fashion helped push the master into a new stage of his career (“For me, it is the defining moment when Saint Laurent’s creativity became a style,” Vaccarello explained). You see it in the mixture of broad shoulders and clean, lean lines; low necklines and high-waisted pants—all were things that were hers before becoming a signature of the house. The freshness Saint Laurent found in Picasso back then works even now, decades later: The bold prints and colors she inspired are seen in Vaccarello’s telling as ultra-vivid florals and deeply pigmented oranges, blues, and reds. It was her sense of power and independence that appealed to and inspired YSL, and one wonders if this spring’s distillation comes through in the clinging, second-skin jumpsuits seen throughout. Few shapes allow for as much freedom of movement or require such a physical confidence—everything is on display, and there’s no space for fretting over what someone might think. But as you know, owning your space and living without apology are always in style. —Leah Melby Clinton

Christian Dior

Maria Grazia Chiuri delved back into the extensive Dior archives for spring 22, and to Marc Bohan’s long tenure with the storied house. Zeroing in even further, Grazia Chiuri turned to the Slim Look collection, presented in 1961. At the time of its release, the press said, “It completely changes fashion, just as the New Look did in 1947.” The show took place on a graphic, color-blocked set conceived by artist Anna Paparatti. The looks themselves followed that colorful spirit—leveraging yellow, green, red, navy, orange, and raspberry on little skirt suits, along fun, fringe dresses inspired by the iconic Roman nightclub, the Piper Club. There was also a range of bright, boxing-inspired looks; bold prints, like that found on a silk maxi skirt paired with a sheer black blouse; and louche denim suiting. Overall, the collection was inspired by … nonsense? As the show notes explained, Grazia Chiuri looked to Anna Paparatti’s Il Gioco del Nonsense (The Game of Nonsense). Nonsense, as the American poet and literary critic Susan Stewart saw it, is “perfect, pure, an untouched surface of meaning whose every gesture is reflexive.” Maybe something a little like boxing? —Kerry Pieri

Kenneth Ize

Kenneth Ize debuted his first collection in Paris what feels like a whole lifetime ago: in February 2020. He did so with Naomi Campbell on his runway and a lot of buzz. Ize hasn’t slowed down since, but now he’s made his way back onto the catwalk. Keeping his home base of Nigeria alive in each collection, the designer utilized traditional handwoven asoke fabric created in a factory he set up in the city of Ilorin. The looks themselves had an inherent joy—bright striped suiting, plaid jackets, some easy maxi dresses done up in tiger prints or marigold fringe. A white column dress with patchwork was cool and simple. In short, Ize is living up to the hype. —Kerry Pieri

Marine Serre

Marine Serre’s pandemic outlook is all about reevaluation. The latest collection, entitled Ostal24, was the brand’s most sustainable to date, composed of 45 percent recycled and 45 percent regenerated materials. “The most important thing for me is what people feel when they see Ostal24 rather than what they think,” Serre explained. “I want people to feel the beauty and the simplicity of being together and finding joy in cooking, eating, dancing, yoga. And at the same time recognize that every day we make choices that have an impact. So how can we be more responsible in the decisions we make?” she asked. While there was a lot of talk about reassessing when everyone was still at home, much of fashion has returned to the status quo. Serre is a rare outlier with an eco-aware collection that leverages knitwear, prints, track pants, and her iconic catsuits to meld statement making with comfort—but mostly with self-awareness. “Fashion is about more than draping fabric and making a profit, it can be a place where we are free to take meaningful action,” she said. Why not do it in a little skirt suit? —Kerry Pieri

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This article originally appeared on harpersbazaar.com

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