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Another strategy for getting through tough times is to lean on pieces or themes that you know your audience wants: the greatest hits approach. To a greater or lesser extent, we’ve seen this at Saint Laurent (where the founder is the code), Prada (with cool classics sprinkled in between new pieces), Miu Miu, Balmain, Fendi, and even Valentino, which, despite its designer references, leans into its founder’s archive more as a way to establish lineage than anything else. I really like Adrian Appiolaza’s take on Moschino.
The designer who has the most compelling shows, at least for me, is Jonathan Anderson. Both at his own place and at the houses he represents, he seems to be engaged in a process of distillation and etherealization, reducing collections to unique looks in unique materials shaped through his unique filter. He works for the biggest group of them all, but his perspective and products are as independent and distinct as any designer you can think of. Plus, he sells. That’s a sure recipe for fun. —Luke Leitch
On the final day of fashion week, ahead of Chanel’s show, the illustrious Palais Garnier hosted Paris’s most anticipated cultural event of the season: the Paris National Ballet’s inaugural gala. This year’s event was particularly significant, as it not only marked the 10th anniversary of the annual fundraising gala, but also came on the heels of Paris’ historic summer hosting of the Olympic Games, which put the city of lights on the world stage and proved—as if there had ever been any doubt—that Paris remains the cultural capital of the world.
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