Here are some highlights from Sunday’s final fall-winter men’s shows and the run-up to Paris Fashion Week for couture collections:
LANVIN’S UTILITARIAN CHIC
A constellation of bright lights that were fixed on stands around the runway gave Lanvin’s display a dreamlike air.
The clothes at the Sunday morning show were more fixed on reality — with sneakers, hoods, hats, toggles and straps appearing on urban-looking and masculine winter looks.
The notable creative feature here was the cross-over styles. Sometimes asymmetrical, it worked well alongside designer Lucas Ossendrijver’s signature use of layering.
A long coat with square pockets featured a flat cross-over lapel, alongside a partly-unzipped and oversized sleeveless coat in beige — that hung wonkily and possessed a carefree quality.
At times, styles that fused a Japanese and workmen’s aesthetic demonstrated Ossendrijver’s penchant for mixing vestimentary references.
Lanvin owner and enigmatic Taiwanese media magnate Shaw-Lan Wang — who’s reportedly been behind the recent tumultuous creative changes at the house — clapped vigorously.
PATRICK GIBSON TALKS “TOLKIEN”
French notables including Lulu Gainsbourg, the musician son of the late Serge Gainsbourg, and DJ Martin Solveig attended Lanvin’s brightly lit show in the Palais de Tokyo. Actor Patrick Gibson of “The OA” and “The Tudors” fame was among the speckling of international faces.
Gibson posed for the cameras in sunglasses and a low-key, coffee-colored Lanvin coat that matched the coffee being served around him.
The 22-year-old Irish actor has wrapped filming for the upcoming biopic “Tolkien.” It tells the true story of author J.R.R. Tolkien, who wrote “The Lord of the Rings” after returning from the horrors of World War I.
“I think there’s going to be a lot of interest. (Main actor) Nick Hoult did an amazing job portraying Tolkien,” Gibson said.
“It shows the really human side. It doesn’t feel like a biopic. It feels like a story about a regular person out of the framework of history. And that makes it real, (showing) his flaws, too,” he said.
FORMER SAINT LAURENT DESIGNER SLIMANE NAMED AT CELINE
Veteran fashion designer Hedi Slimane has been named the new creative director of the edgy Paris brand Celine.
Slimane, who gained critical and commercial success as Saint Laurent’s designer during 2012-2016, will replace outgoing British designer Phoebe Philo, whose departure was announced in November.
In a statement Sunday, Celine parent company LVMH praised Slimane’s “talent and his remarkable ability to anticipate and express in a unique way the evolutions and desires of his age.”
French-born, Italian-Tunisian Slimane previously worked for LVMH as designer of Dior Homme during 2000-2007. He was credited with contributing to the influential skinny menswear aesthetic.
Calling Silmane “one of the most talented designers of our time,” LVMH head Bernard Arnault said he was “particularly happy that Hedi is back within the LVMH Group.”
PAUL SMITH’S 80S
It was the dramatic styles of the 1980s that were in vogue at Paul Smith’s fall show.
The British designer stuck closely to suit- and coat-heavy looks for his smart collection that referenced the broad and angular shoulders ubiquitous during that dressy era.
Asymmetrical paneling on outerwear — such as a half-tartan, half-plain tailored coat — was a recurrent style and mirrored the days of the New Romantics.
Large architectural lapels or turned-up collars on long oversized coats also had the exuberant flourish of that decade’s heady fashions.
The sober and beautiful color palette of myriad blues — navy, Cetacean, Cerulean, blueberry, turquoise — as well as purple and vermilion ensured the collection stayed tasteful.
AGNES B. IS SALEABLE, RISK-FREE
Agnes B.’s perfectly saleable designs were dapper, but the collection ultimately played it safe.
For fall-winter, the French designer’s best styles riffed on the retro suits of the 1960s.
Fitted gray and gray-blue woolen suits flared slightly at the jacket hem and were accessorized with a trilby hat.
They wouldn’t have looked out of place on the James Bond of the Sean Connery era.
Jazzy shirts and ties in contrasting patterns added the contemporary lift that was also seen in a vivid royal blue hat and chic three-button jacket.
At times, the commercial garments looked out of place on a platform of high fashion.