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    Christian Louboutin Makes a Splash at Paris Fashion Week

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    Christian Louboutin enlisted the French Olympic synchronized swimming team to introduce his new Miss Z stilettos at Paris Fashion Week.Christian Louboutin made a splash at Paris Fashion Week on Friday night: He staged “Paris is Louboutining,” a synchronized swimming spectacle at the Piscine Molitor.The Art Deco pool, designed by Lucien Pollet in 1929, was transformed into a watery burlesque that would sink Esther Williams with envy. Mr. Louboutin enlisted the photographer and music video director David LaChapelle for art direction, Blanca Li for choreography, a troupe of 14 dancers and 15 members from the French Olympic artistic swimming team for an underwater performance done entirely in his new Miss Z stilettos. The musician LP sang on the pool deck.Even before the Paris Olympics, Mr. Louboutin had been taken with the idea of using athletes to present his collection. He envisioned something surprising, “where you would not expect athletes and you would not expect shoes,” Mr. Louboutin said before the show. “I thought, basically, swimming.”Known for his slick red-leather-soled shoes, Mr. Louboutin also has a love of dance, camp and glamour. His first job was at the Folies Bergère, and he got his start designing shoes for showgirls. He has collaborated with Crazy Horse, Paris’s tastefully nude cabaret, and staged his Loubi shows, the dance and music presentations he orchestrates to showcase new collections, with various choreographers and performers.“Paris is Louboutining” took the concept to another level. The entire revue was fabulously over the top, beginning with its title, a play on the documentary “Paris Is Burning.”Members of the Olympic swim team slid down a giant mule …via Christian Louboutin… and into the pool for their synchronized performance.via Christian LouboutinWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Celine’s Fall Collection Recalls the 1960s

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      It’s a genuine trend. Just look at Hedi Slimane’s Celine.A full week after the end of the fashion season, Hedi Slimane of Celine released his fall women’s wear collection — as a video. But while he may have been going his own way with timing and format, in one way he was right on trend: Rather than offering up yet another cool-girl-in-the-city collection (trench coats, jeans, blazers, vintage slip dresses), he swerved in an entirely different direction.It was one that focused on the three Ps — pearls, pussy bows and polish — of midcentury chic. The word “pert” also came to mind. Politesse, too. Oh, and pouting. Celine is getting in on the beauty game.In what was framed as an ode to the Celine founder, Céline Vipiana, as well as the photographer Richard Avedon, Mr. Slimane offered up a tight collection of late 1960s silhouettes: extremely short on the bottom (just brushing the rear), structured on the top, and defined overall by an ethos rooted not in rebellion but in the jolie madame. It was less night crawler than day bruncher. Little skirt suits with bright buttons alternated with jewel-encrusted balloon minidresses; neat peacoats with oversize bow blouses beneath carefully cropped jackets.Celine, fall 2024CelineCelineCelineCelineCelineCelineThere was not a pair of pants to be seen, though there were a lot of boots, exaggerated spitfire caps, shades and, always, pearls, in the form of button earrings or Babe Paley strands. Indeed, in aesthetic terms at least, Mr. Slimane and Ryan Murphy of “Feud: Capote vs. the Swans” seem to be on the same page in embracing the return of highly conscious, coordinated outfits — in embracing the idea of the outfit itself, retrieving it from the dustbin of the passé.There’s nothing casual or just-rolled-out-of-bed about these clothes. Nothing “Oh, this old thing?” Rather, they speak to the importance of dressing for the occasion, when every day is the occasion.The message was somewhat undermined by — buy? — the loving close-ups of the new lipsticks, as well as by Mr. Slimane’s insistence on using only very young, very skinny models. (In this, he is still unfortunately stuck in a rut.) But it’s still a striking message, and one that has been dormant for a long time.Ever since casual Fridays were introduced way back when, we’ve been on a slippery slope to the end of even an unspoken dress code. These clothes — this trend, which was also the biggest takeaway of the recent season — suggests there is value in moving in the other direction, in the idea of putting oneself together.In the end, it’s a form of self-care. Can’t everyone use a bit of that right about now? More

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      At Alexander McQueen, a Confusing Debut by Seán McGirr

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      A confusing debut at Alexander McQueen, but Rick Owens and Yohji Yamamoto prove originality is the best revenge.Alexander McQueen, fall 2024Indigital.Tv/Alexander McQueenAlexander McQueen, fall 2024Indigital.Tv/Alexander McQueenThat the death of Iris Apfel, the geriatric influencer whose idiosyncratic sense of personal style made her a fashion star when she was well into her 80s, happened smack in the middle of Paris Fashion Week was both startling and oddly fitting. All the appreciations of her life and outfits have been adding up to pointed reminders of how this whole circus relates to the art of dressing, and the way clothing can be an interface with the world in the most expressive, original way.I was thinking about that a lot over the weekend, in part because of the designers here who, like Ms. Apfel, have built empires (or at least small fiefs) on a willingness to go their own way — Rick Owens, Yohji Yamamoto. Designers with a deep understanding of the rules and history of fashion and an equally powerful ability to rewrite both, and to imagine a different world. One whose uniforms can look bizarre and outrageous, but which create a sense of thrilling possibility: clothes like permission slips to think out of the box.And also because in Seán McGirr’s debut at Alexander McQueen, a house that once did all of the above, it got so very garbled.A McQueen MisstepMr. McGirr had the complicated job of taking over from Sarah Burton, the longtime deputy to Mr. McQueen, who had stabilized the brand after the designer’s suicide in 2010 and made it her own, adding a touch of grace to the angry romance and soaring imagination that traversed heaven and earth and that, combined with great technical proficiency, defined the McQueen name.Mr. McGirr is, in other words, the first designer to lead the brand with no particular connection to it, and that showed. In a preview, he talked excitedly about Mr. McQueen’s spring 1995 collection The Birds, as well as the East End of London, rough edges and rebels, but the result looked like McQueen, the TikTok dance version. It had energy, but not depth.Alexander McQueen, fall 2024Indigital.Tv/Alexander McQueenWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More