PARIS — As we navigate the current trends influenced by the “Ozempic body,” it’s notable that the waist has emerged as a focal point, signaling a resurgence in corsetry during the ongoing Paris Fashion Week.
In his debut collection at Mugler, Miguel Castro Freitas centered corsets as a tribute to fashion’s past, but with a contemporary twist: absent were the elements of camp and humor, replaced by a distinctly serious and structured presentation. The designs showcased a blend of elegant coverage—punctuated by occasional sheer details and one remarkable dress suspended by nipple piercings echoing Mugler’s archives. Castro Freitas emphasized the notion of clothing as a powerful tool for body reshaping, staying true to the Mugler ethos.
His artistic direction presents a fascinating yet challenging juxtaposition. Castro Freitas boasts a robust design history, having left a significant mark at Sportmax, but whether his stern interpretation of Mugler’s legacy appeals to the audience that adored his predecessor, Casey Cadwallader, remains an intriguing question to consider.
Under Cadwallader, Mugler’s fashion was often a vibrant marketing platform for perfume; yet Castro Freitas leans into a more sophisticated narrative aimed at fashion connoisseurs. To fully realize his potential, he might benefit from less reliance on established style references—ranging from Mugler himself to designers like Jean Paul Gaultier and Alexander McQueen—before grounding his own concepts in the design process.
Meanwhile, The Row continues to champion its hallmark of subdued luxury, yet this season exudes a newfound formality. Gone is the relaxed vibe of previous collections; now, we see hair elegantly pulled back, tailored pencil skirts, and structured jackets that cinch the waist, coupled with a monochrome palette of whites, blacks, and beiges. This marks a departure from the comfort-driven aesthetic that has made Ashley and Mary-Kate Olsen staples in fashion circles.
This evolution in The Row’s design philosophy changes the dialogue between apparel and the human form. The fluidity of previous lines gives way to more closely tailored silhouettes, yet the brand’s signature charm—characterized by an effortlessly colorful approach and a hint of chaos—persists, reinforcing a connection to grandiose couture aesthetics presented in a modern fashion.
Rick Owens navigated his own avant-garde frontier with a new women’s collection, which effectively continued themes from his earlier men’s show. While the men’s line exuded a sleazy edge, this collection took on a more ethereal tone, accentuated by gauzy tunics paired with distinctive robotic shoulder pieces. Owens’ signature “glunge” aesthetic has seen an evolution towards more defined, occasionally theatrical silhouettes. The show was visually compelling, merging performance with substantial meaning, reflecting a deeper narrative beyond mere surface aesthetics.
Over at Rabanne, Julien Dossena embraced vibrance with a collection echoing the bright, active energy of swim and surf culture. However, this exuberance resulted in a mix that felt somewhat haphazard, as bold patterns and glitzy elements collided in an eclectic display, slightly shying away from the focused precision Dossena typically exemplifies.
Finally, Daniel Roseberry transformed the upper floor of the Centre Pompidou into an exhibition space for his latest Schiaparelli ready-to-wear line. Distinctly separate from the couture segment, this collection benefited from a sense of restraint and impeccable craftsmanship—offering a refined vision of glamour suited for contemporary women who expect elegance coupled with practicality.
