The Best Shows From Men's Paris Fashion Week Spring/Summer 2024

For his debut collection as Louis Vuitton men’s creative director, Pharrell decided to create a collection that could have been plucked from his own wardrobe. If you’ve studied Pharrell’s looks over the years, the silhouettes and pieces on the runway looked familiar, merging Pharrell’s penchant for streetwear, luxury, skate, and tailoring. There was the red varsity jacket he wore in the early 2000s with the “PA” emblem—standing for Princess Anne, the Virginia Beach high school he attended. He redesigned it for Louis Vuitton by embellishing it with rhinestones and adding a Louis Vuitton script logo. There were fur coats that brought to mind a Roberto Cavalli fur Pharrell wore often in 2004. There were collarless jackets coming in denim or tweed with pearl embellishments inspired by the Chanel jackets Pharrell’s donned. And there was the camouflage print he’s gravitated to over the years, now reinvisioned as “Damoflage,” which merges camo with Louis Vuitton’s Damier pattern. The print was featured on denim, knits, fur, and tailoring. He had a lot of ideas, but he utilized through lines to make the collection feel cohesive. And although the assortment was self-referential, it didn’t read as Pharrell cosplay or too nostalgic. 

The clothes were solid and sellable, but design innovation from Pharrell was most apparent with his accessories. Pharrell said the Speedy handbags were supposed to embody the spirit of Canal Street. He made them in bold colors like cobalt, kelly green, yellow, and cherry red using a supple, collapsible leather instead of the stiff canvas LV typically uses for its handbags. They felt new but vintage at the same time and will sell well (Tyler, the Creator was already carrying the red style at the show). He also produced Louis Vuitton trunks in a shiny copper color and the Damoflage print, presenting them on the runway like precious cargo—a model drove them out on a golf cart. Pharrell added colors like red, green, and yellow to the classic Damier print bags, which are usually brown and beige. And sunglasses were interesting, including a pair attached to a gold head clasp accentuated by pearls. Pharrell put on an entertaining show and presented a collection that was a true reflection of him. —Aria Hughes

Grace Wales Bonner is consistent. Each season she explores a story from the African diaspora. But instead of simply looking to it for inspiration, she thoroughly studies it and uses her collections to properly document history while also expanding on it. This season she thought about long-distance runners from Ethiopia and Kenya. Bonner cast current day runners like Tamirat Tola Abera and Yomif Kejelcha Atomsa to walk in the show, and referenced runners of the past like Abebe Bikila, who won Africa’s first gold medal at the 1960 Summer Olympics in Rome (while running barefoot), and Haile Gebrselassie, who won the Berlin Marathon in 2008. Bonner excels at merging the past and present in storytelling and design. She presented classic pieces like tailored coats and check Mac jackets alongside sportier garments like Adidas tracksuits and running shorts made from elevated fabrics. Always committed to craft, she worked with artisans from Addis Ababa to weave Tibeb fabric, and presented pieces hand embroidered with raffia or embellished with Ghanaian artisanal glass beads. For footwear, she continues her relationship with Adidas Originals, presenting Adidas running sneakers updated with a faux animal skin and a replica of Gebrselassie’s signed Adidas Neftenga sneaker, and introducing a collaboration with Ugg on a moccasin—as of now this collaboration is strictly for the runway. Bonner makes the refined feel accessible. The show ended with a performance from Haddis Alemayehu who played the Masinqo, a musical instrument used in the musical traditions of Ethiopia.The clothes are always strong, but the Bonner always grounds them in context that makes her brand feel much bigger than a fashion company. —Aria Hughes

Angelo Urrutia’s 4SDesigns is a young label (just three years old) that is already making waves in the fashion world with its modern approach to classic American sportswear, the styles that he grew up surrounded by in Queens. The brand’s Spring/Summer 2024 range showcased in Paris was no different. The collection displayed a variety of staples in interesting executions that exemplify Urrutia’s meticulous attention to detail like running shorts that looked like crumpled tinfoil, button-ups covered in a checkerboard pattern that looks like it was ripped from a century-old quilt, satin pants with horizontal rainbow stripes, or a green work jacket accented by gold fringes. Familiar silhouettes were crafted using unconventional textiles, like a bomber jacket made of boucle yarn, double-knee pants made of flowy sateen, or pants made of nubuck that were embossed to look like denim. Everything felt elevated enough that it would fit in on a runway in Europe, while still being approachable enough that the average consumer could wear it comfortably. What Urrutia has been able to achieve as an upstart label is nothing short of impressive. We look forward to seeing what he can bring to the table next as his experiences and resources grow. –Mike DeStefano

Matthew M. Williams latest collection for Givenchy was presented at Paris’ Hôtel National des Invalides and marked a new direction for the designer. Instead of riffing off his established motifs for the house, such as silver hardware and graphic heavy logo apparel, Williams took a subtle and elegant approach this season. There was emphasis on both relaxed tailoring and new interpretations on traditional men’s uniforms. Proportions were altered as seen with Williams’ boxy double-breasted suit jackets, cutout knit sweaters with elongated sleeves, and oversized T-shirts with grommets. Other core menswear staples, like knit sweaters and tennis polos, boasted subtle logo hits that brought back a taste of refined luxury at Givenchy. But thankfully, Williams didn’t stray too far from the utilitarian styles that he’s holistically known for. He finally brought his take on the “Chest Rig” to Givenchy, a vest-bag hybrid that was once a popular staple from his own label 1017 ALYX 9SM. Along with that came brightly colored ski jackets, vests, and nylon backpacks that boasted just enough technical flair without looking tacky. While Williams has yet to land a ubiquitous Givenchy staple like Tisci’s “Rottweiler” T-shirt, his latest wares may finally hit that target.—Lei Takanashi

Since debuting in 2021, Drew Curry’s Airei has channeled the human experience in a variety of ways throughout its collections. The Los Angeles-based label’s latest presentation, Windhorse, honed in on dedication to life’s journey and spirituality. Models slowly circled a display of white prayer flags at the center of a courtyard occasionally dropping to their knees in a prayer-like gesture. Intricate details across various garments further elaborated on the theme such as silk button-ups and pants covered in a custom print designed to resemble scars, denim pants covered in a layer of gauze meant to be burned away, and black sets with white contrast stitching that created flames. Along with new clothes, Airei also debuted its first sneaker collaboration, a 50-pair run of Asics GT-2160s. Each was covered in plaster meant to crack and crumble away over time, resulting in an experience completely unique to each owner. Select models also wore an all-black Asics sneaker that featured crude fabric paneling reminiscent of Airei’s garments. With Airei’s Spring/Summer 2024 collection, Curry proves once again that beauty can be found even in life’s toughest moments. —Mike DeStefano

It’s easy to get lost following all the collaborations Junya Watanabe unveils at his Paris Fashion Week shows. But out of the 18 that Watanabe is slated to release later the year, which includes link-ups with Palace, Oakley, Stüssy and more, the most stunning one to watch unfold was the Japanese designer's “collaboration” with his womenswear line. The result of that was a Spring/Summer 2024 collection that featured 29 androgynous looks composed entirely of statement pieces. Trench coats and Chanel-esque tweed jackets were violently deconstructed, then haphazardly sewn back together into elegant sleeveless vests and jackets that resembled the silhouettes of shift dresses Jackie Kennedy would have worn in a post-apocalyptic America. Of course, Watanabe did not stray away from the menswear motifs he’s built a cult following for. Utilitarian outerwear inspired by firefighter uniforms informed a collaboration with Carhartt. And Gregory became the latest outdoor label to have its backpacks turned into another ostentatious techwear masterpiece. Archivists still drooling over Watanabe’s “Poem” jeans will surely lust over his distorted take on Levi’s 501s. Respectfully, Watanabe’s collaboration with C.P. Company is giving heavy Yeezy Gap Engineered by Balenciaga vibes. But hey, if Watanabe did it better, who’s going to even complain?—Lei Takanashi 

Kim Jones is celebrating his fifth year as the creative director of Dior Men’s. His tenure has been highlighted by numerous streetwear-leaning collaborations, a debut collection with KAWS, work with Travis Scott, and a range with Tremaine Emory among them. Needless to say, it’s become a bit expected for Dior to unveil a big collaboration at Paris Fashion Week. However, that wasn’t the case this season. Instead, Jones marked his five-year anniversary with Dior by keying in on elements from those who came before him (specifically the eras of Yves Saint Laurent, Gianfranco Ferré, and Marc Bohan). The resulting collection was highlighted by cropped sweaters covered in the house’s iconic cannage pattern, lug-soled loafers, and sandals sporting exotic prints across the upper, and neon-colored polos covered in jewel embellishments. Tweed in various colors was used to craft everything from blazers to shorts. Other looks were topped off by vibrant knit beanies. But the highlight of the show was the futuristic stage design, which saw models rise and drop through square trap doors in the floor. Five years in and Jones is still finding fresh paths to take the storied fashion house down, and he doesn’t always need a big name collaboration to do it. —Mike DeStefano

Hed Mayner isn’t a household name but he should be. The Israeli designer, who won LVMH's Karl Lagerfeld Prize in 2019, is known for his oversized silhouettes influenced by Jewish tailoring. It’s a specific reference, but each season Mayner expands on it, bringing something completely new to the table. For his Spring/Summer 2024 collection, he explored “boring clothes.” He took those staple pieces we are all familiar with, including a V-neck sweater, a men’s shirt, pinstriped trousers, and classic pajamas, and turned them into sculptural but wearable masterpieces. Collared shirts made from crinkled Tyvek are able to be molded around the body; a cargo vest with oversized pockets is attached to another vest, lending it a more pronounced shape; a knit sweater features pockets on the chest showing the imprint of an iPhone and a water bottle; and jackets appear as if they are moving away from the body rather than draping it. He also showed his latest collaboration with Reebok on its BB 5600 sneaker from 1989. Mayner is dedicated to reimagining clothes and presenting new ideas that work. —Aria Hughes

Jonathan Anderson’s latest collection for Loewe can be summed up in two words, high waisted. The silhouette was showcased in a handful of ways. Certain models were outfitted in matching sets covered in crystals. Light danced off the pieces with each step. Others wore chunky colorblocked sweaters or knit quarter-zips with jeans. Baggy green trousers were paired with cropped trench coats. This concept was taken to the extreme by looks 47 and 49, black and red jumpsuits that essentially looked like the models were wearing two giant pairs of leather pants hiked up to their necks. Other looks featured plaid blazers adorned with chest pockets commonly seen on winter coats, baggy denim that spilled over round-toed suede boots and ballet flats, and studded leather tank tops. And of course, there’s always that piece from Anderson. This time, it was a shirt made to look like a giant pinned fabric swatch, shown in blue, yellow, and pink variations. The runway design was equally as impressive, centered around three fountains by American sculptor Lynda Benglis. Benglis even narrated the opening of the show to explain her vision for her creations. Anderson has perfected the balance between producing fun collections that don’t feel too gimmicky. Loewe Spring/Summer 2024 is just the latest example. —Mike DeStefano

Nigo truly found his stride as Kenzo‘s creative director this season with his fourth (and frankly his best) seasonal collection for the house yet. Presented on the Passerelle Debilly footbridge directly beneath the Eiffel Tower, Kenzo’s Spring/Summer 2024 line was inspired by Nigo’s own formative years as a teenager in 1980s Japan. City Pop (the ‘80s Japanese pop genre) defined the theme of the collection, which was informed by Japan’s opulent lifestyle during a decade of economic prosperity. Nigo continued to bring Japanese sensibilities to western styles while utilizing Kenzo Takada’s rich archive. Denim chore jackets, produced in a similar indigo wash that Kenzo used in the ‘80s, were reimagined as judo robes. Traditional Japanese seigaiha wave prints were flipped into elevated monograms on denim jackets and hoodies. Streetwear remains foundational for Nigo, who tapped the beloved Japanese graphic designer Verdy to design graphics for his latest collection. These fresh Kenzo logos appeared as subtle branding hits on collarless trench coats and blazers boasting kimono sleeves. A monogram created out of Verdy’s logo also graced silk shirts and cotton anoraks. Yes, Pharrell is heading LV. But let’s not forget that “The General” was the one who helped P make his first steps in fashion with Billionaire Boys Club/Icecream. Although Louis Vuitton and Dior are the stars of LVMH’s portfolio of luxury labels, Nigo is building up Kenzo to stand toe to toe with their most popular houses. —Lei Takanashi

Winnie’s creative director, Idris Balogun, has a serious fashion background, having trained on Savile Row and worked for Burberry when Christopher Bailey led the house. That design pedigree comes through in his beautifully made collections, but this season Balogun also had some fun. He was inspired by the German word sehnsucht, which means the opposite of nostalgia. Balogun wanted to design pieces that embodied a specific feeling or longing, but one that you can’t exactly identify. Winnie is known for its tailoring, but it always features a modern twist. He presented a jacket with a rounded scoop neck, a pinstriped suit with slightly flared trousers accentuated with cargo pockets, and TK. He pairs this with sportier items like drawstring hoodies reminiscent of Juicy Couture sets, jackets made from nylon, and denim with interesting seaming details. Balogun is also great with color. Work from expressionist painters Frank Bowling and Edward Clark informed knits featuring abstract prints and pops of fuchsia and salmon, which came through on a gorgeous leather suede coat and matching shorts. If Balogun’s goal was to produce clothes that made you long for the past but still felt current, then mission accomplished. —Aria Hughes