Fashion
Paris is torn between Elie Saab’s working girl and the whimsical creations of Japanese designers
Published
October 5, 2025
Japan’s leading fashion houses once again made a major splash at Paris Fashion Week on Saturday, as evidenced on the sixth day of the women’s ready-to-wear shows for spring-summer 2026 by three of the country’s most emblematic labels: Junya Watanabe, Noir by designer Kei Ninomiya, and Comme des Garçons. On the same day, Elie Saab sent his army of power women down the catwalk.
As so often, it was Rei Kawakubo‘s show for Comme des Garçons that moved us most and left the deepest impression. In today’s chaotic world, where catastrophes and human tragedies follow one after another, the designer seemed intent on returning to origins, reconnecting with the values of the Earth. Folk songs and traditional tunes accompanied the show.
A procession of amorphous, swollen silhouettes advanced, draped in great swathes of burlap, hemp or linen, hastily knotted, or in old lace sheets, curtains and bedspreads. Some jackets appeared to be cut directly from the large beige canvas sacks used to store potatoes and other produce from the land. A waistcoat and goat-hair coats completed this rustic look.
These sculptural garments, generated by the play of layering, volume and padding techniques, lent a sense of solemnity to the whole. Topped with battered top hats and cotton-wool hair in pastel shades, the models evoked rag dolls or cloth puppets—old crones or witches—burned in the countryside in January in antiquity to lay the past year to rest and celebrate a richer, more auspicious new season.
This season, Junya Watanabe pushed the boundaries further in his experimental exploration of clothing, delivering a breathtaking collection in which constructions were constantly reinvented, with unexpected intrusions along the way. The Japanese designer folded, with complete ease, the ordinary elements of the textile universe and everyday life into his creations—objects and accessories that usually pass unnoticed.
The result was at once surreal and playful. Old white lace parasols unfurled like a corolla at the hem of a summer dress, while a flock of straw hats created a ruffled volume at the collar and across the shoulders of a long evening gown in nude-coloured guipure lace.
Bright red pumps adorned the shoulders of a black sheath. A cascade of metallic cutlery formed the sleeves of a crinkled silver nylon T-shirt. Rendered in gold, knives and forks compose intriguing sculptures on a shoulder or a flank. The emblematic coat hanger completed this kind of “prévert inventory”: trench coats, shirt dresses and polka-dot dresses were threaded onto it two or three at a time, then secured to either side of the body.
At Noir, Kei Ninomiya continued to explore three-dimensional structures through a mathematical approach. By infinitely multiplying elements as modules—flowers, stars or metal cones, for example—he created fairytale, sculptural ensembles. The show opened with a series of white tulle petticoats paired with sparkling, silver, carapace-like tunics.
The models’ faces were masked or hidden by bulky headdresses, reminiscent of aggregates of quartz crystals or other organic forms. In black and white, they also appeared in unexpected fluorescent hues (pink, orange, and yellow). Paradoxically, behind this whimsical appearance lies a rather classic, even retro wardrobe, composed of prim white blouses, black balloon or pleated skirts, and suits with gathered ruffles. Not forgetting platform moccasins set on a platform and fitted with a small stiletto heel.
These outfits were enhanced by harnesses or cage tunics slipped over the garments, to which all manner of spectacular structures were attached: a giant star covered in precious stones, a basket-dress-shaped grid formed by a Meccano-like chain, clouds of tulle, glittering garlands and other fabric petals.
A change of register at Elie Saab. The mood evoked the electric air of the great metropolises. In the darkness, the sound of heels echoed on the pavement. Suddenly, silhouettes emerged in a fog bathed in a ruddy glow. The first model cut across the catwalk. The tone is set—a little like “Bright Lights, Big City”.
The look was that of the working girl: a chic, tailored suit; a pencil skirt with a back slit; a silk blouse with a plunging neckline; or little polka-dot tops. She’s as at ease in pleat-front trousers as in a strapless python-skin dress, and has never looked more elegant than simply wearing a flowing camel trench that slips over her skin, or a jacket and T-shirt with those sensual, floaty silk trousers with a denim effect.
Her favourite game? Mix & match. She happily pairs Prince of Wales check with polka dots, a leather skirt with a metallic-fringed tank top, a worn leather jacket with an openwork sequinned skirt. For evening, the Elie Saab woman pulls out all the stops with glittering draped maxi dresses or shorter dresses with long trains.
This article is an automatic translation.
Click here to read the original article.
Copyright © 2025 FashionNetwork.com All rights reserved.
Nominal GDP, or GDP at current prices, is estimated to grow at 8.6 per cent to reach ₹345.47 trillion in FY26 against ₹318.07 trillion in 2024-25.
India’s real GDP is estimated to grow at 7.6 per cent to ₹322.58 trillion (~$3.54 billion) in FY26 compared to the first revised GDP estimate of ₹299.89 trillion for FY25 (7.1 per cent growth).
It released the new series of annual and quarterly national accounts estimates with FY23 base.
Real GVA is projected to grow at 7.7 per cent to reach ₹294.40 trillion in FY26 against ₹273.36 trillion in FY25.
Real gross value added (GVA) is projected to grow at 7.7 per cent to reach ₹294.40 trillion in FY26 against ₹273.36 trillion in FY25 (a 7.3-per cent growth rate).
Nominal GVA is estimated to grow at 8.7 per cent to hit ₹313.61 trillion during FY26, against ₹288.54 lakh crore in 2024-25.
Robust economic performance in FY26 is primarily on account of robust real growth observed in the second quarter (8.4 per cent) and third quarter (7.8 per cent).
The manufacturing sector has been the major driver of resilient performance of the economy the consecutive three fiscals after rebasing, a release from the ministry said.
Both private final consumption expenditure and grossed fixed capital formation exhibited more than 7-per cent growth rate in FY26.
Fibre2Fashion News Desk (DS)
The transition marks the formal handover of executive leadership to President and CEO Keun-Chang (Kevin) Yoon, reinforcing management continuity while preserving the founder’s long-term strategic vision.
Misto Holdings founder Gene Yoon has transitioned to honorary chairman in a planned leadership succession, formally handing executive control to president and CEO Kevin Yoon.
The founder, who expanded the group through the FILA global trademark acquisition and the takeover of Acushnet, will continue guiding long-term strategy as the rebranded Misto focuses on governance and sustainable growth.
Gene Yoon founded the business that would become Misto Holdings in the early 1990s, introducing the FILA brand to the Korean market and later leading a series of transformative transactions. In 2007, the company acquired the global FILA trademark rights through a leveraged buyout, followed by the 2011 acquisition of Acushnet Company, owner of the Titleist and FootJoy brands. The transaction was among the largest cross-border deals in Korea’s consumer sector at the time and significantly expanded the group’s global footprint.
Under his leadership, the company evolved into a multi-brand global portfolio spanning sportswear, golf equipment and apparel, generating approximately USD 3.08 billion in annual revenue.
As Honorary Chairman, Gene Yoon will remain closely engaged with the company, providing guidance on long-term strategy and global portfolio development while supporting management from a broader strategic perspective.
The leadership transition marks a new chapter under President and CEO Kevin Yoon, who has spent nearly two decades in senior roles across the group’s global operations, building deep operational and strategic expertise.
The company’s 2025 rebranding to “Misto” underscores its evolution into a global brand house focused on disciplined capital allocation, enhanced shareholder returns and sustainable long-term growth.
“Building on the founder’s legacy, our priority is to expand our global portfolio, strengthen governance and deliver sustainable value creation,” said Kevin Yoon, President and CEO of Misto Holdings.
Note: The headline, insights, and image of this press release may have been refined by the Fibre2Fashion staff; the rest of the content remains unchanged.
Fibre2Fashion News Desk (RM)
From Fraud Checks To Faster Settlements, SEBI Whole-Time Member Lists Recent Market Reforms In India
Netflix set to release new show following ex-Prince Andrew arrest
Israel launches pre-emptive attack against Iran; multiple explosions heard in Tehran
-
Tech1 week agoA $10K Bounty Awaits Anyone Who Can Hack Ring Cameras to Stop Sharing Data With Amazon
-
Business1 week agoUS Top Court Blocks Trump’s Tariff Orders: Does It Mean Zero Duties For Indian Goods?
-
Fashion1 week agoICE cotton ticks higher on crude oil rally
-
Entertainment1 week agoThe White Lotus” creator Mike White reflects on his time on “Survivor
-
Politics6 days agoPakistan carries out precision strikes on seven militant hideouts in Afghanistan
-
Tech1 week agoDonald Trump Jr.’s Private DC Club Has Mysterious Ties to an Ex-Cop With a Controversial Past
-
Sports1 week agoBrett Favre blasts NFL for no longer appealing to ‘true’ fans: ‘There’s been a slight shift’
-
Business7 days agoEye-popping rise in one year: Betting on just gold and silver for long-term wealth creation? Think again! – The Times of India