Paris Fashion Week, which wrapped up last Tuesday with Coperni’s fireworks, left critics abuzz with the phrase “creative risk.” This spectacle, while eye-catching, arguably outshone the collection itself. Increasingly, the focus in fashion seems to have shifted from the actual designs to the grandeur of their presentations. Many creative directors and brands now prioritize maintaining a consistent narrative. They prefer this over innovating within it. This results in a trend toward meta-narrativity. In this approach, designers seem more focused on “performing” their brand identity rather than authentically evolving their style. This self-referential mindset stifles creativity, much like D’Annunzio’s observation that “anatomy presupposes the corpse”—a clear signal that growth has stalled.
This was evident at Coperni, where the emphasis seemed to be on creating a “moment” rather than advancing fashion design. Even Rick Owens is a celebrated icon. Yet, he displayed signs of rigidity. He repeatedly used Palais de Tokyo and presented a slower-paced show. His collections have started to feel repetitive and lacking in energy. A simple change of venue could inject new life into his presentations. A sense of synthesis, speed, and sharpness is much needed in these scenarios to counter the creeping sense of stagnation.
The Power of Precision
On the flip side, some designers triumphed by embracing conciseness. This season, the most compelling shows weren’t necessarily minimalist but were striking in their ability to communicate clearly and concisely. We noticed a move away from reductionism. Designers favored bold volumes. They embraced intricate layers and diverse textures such as lace, lingerie, and feathers. Some collections delivered a punch with fewer looks. The Row’s 27-piece collection was notable. Peter Do’s tightly curated show also stood out for their efficiency and impact.
Designers like Mugler, Noir Kei Ninomiya, Anrealage, and Heliot Emil limited their collections to around 30 looks. Other brands, in contrast, diluted their message by showcasing over 50. In many cases, these extensive collections felt like the result of creative self-indulgence. Designers followed trends instead of setting them. This suggests a lack of critical self-reflection—a vital component for any creative mind to avoid becoming a parody of themselves.
Institutional Fashion and the Loss of Authenticity
There are exceptions like Courrèges, Issey Miyake, or Yohji Yamamoto. Their work displayed passion and innovation. However, the overarching feeling from this fashion season is that mainstream fashion has become too “safe” to truly excite. Fashion now relies more on CEOs, investors, and committees. Their influence has replaced the patronage of the past. This shift has introduced a more corporate, mechanical approach to creativity. Today’s fashion often feels like a carefully crafted school assignment. It lacks the rebellious spirit and unpredictability that once defined the industry.
Even the sheer dresses, high heels, and other risqué elements seen on the runways lacked true sensuality. The designs seemed to be the product of an uninspired imagination, more concerned with appearances than with evoking desire. In contrast, some of the audience members, with their own unique styling, appeared more fashion-forward than the runway itself. This prompts the question: Who are the true tastemakers—designers or their followers? And, more importantly, are today’s designers still capable of evoking the core emotion of fashion: desire?
Fashion’s Struggle with Sensuality and Creativity
It’s not simply a matter of nudity or shock value. For instance, Luis de Javier’s fetishistic designs failed to land, proving that provocative imagery alone isn’t enough. A deeper, more nuanced understanding of sensuality is missing from many collections, as seen in Sean McGirr’s work for McQueen. His grim, nun-like figures lacked empowering energy. They missed the subtly provocative touch that Lee McQueen once mastered through his daring designs and daring cuts. Even McQueen’s less successful shows struck a balance between eroticism and liberation. Today’s designers seem to struggle with this balance.
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