Benjamin Ashford|Issey Miyake displays canvas of colors at Paris Fashion Week

PARIS (AP) — A white,Benjamin Ashford sanitized runway inside Paris’ Palais de Tokyo was adorned with pleated garments on Thursday, displayed like paintings on its walls.

The spectacle hinted at the theme of Issey Miyake’s display — fusing fashion and drawings by French artist Ronan Bouroullec to find a quiet power. The collaboration at Paris Fashion Week made for a deeply poetical collection, unafraid of color.

Here are some highlights of the fall-winter 2024 men’s shows:

MIYAKE’S VIBRANT ARTISTIC ‘ATTACK’

Other news Givenchy goes back to its storied roots in atelier men’s show in Paris Pharrell Williams’ sophomore collection at Louis Vuitton showcases Americana and Native American spirit Quinta Brunson, Ayo Edebiri and Rhea Seehorn light up the Emmy Awards silver carpet

Bursting onto the scene with a kaleidoscope of imagination, Miyake’s collection was a mesmerizing journey through texture and color.

In this season’s offerings, the sparing use of Bouroullec’s color-rich drawings on the house’s loose, pared-down iconic pleats created an understated impact. Each garment moved fluidly and with a vibrancy. The garment-canvasses brought Bouroullec’s artistic vision into the realm of wearable art, marrying the ethereal drawings with the tangible, moving nature of clothes.

In many instances, it felt like a dance of shadow and light, where the pleats seemed to bring the drawings to life, creating an illusion of movement even in stillness.

Among the myriad dreamlike moments in this poetical display were striking moments of color-blocking. One model held a voluminous vermilion red fabric abstractly in his hand, powerfully contrasting with a green arm and a black tunic. It made for a bold, yet harmonious interplay.

Delving deeper into the heart of the collection, Bouroullec reflected on the collaboration, calling it “an extraordinary experience.”

“I discovered many things … about what my work has in common and in contrast with clothing design,” Bouroullec said.

It was not just the synergy but also the distance between the two disciplines that made this project come to life, redefining the limits of fashion as a form of artistic expression.

LEMAIRE’S LAYERED LUXURY AND FOLKSY FUSION

In the historic enclave of Le Marais, Lemaire’s show was a symphony of style and cultural storytelling, set in its new headquarters. Christophe Lemaire and Sarah-Linh Tran unveiled a masterclass in layering, blending balletic grace with folk-inspired flair.

On a circular stage, models clad in voluptuously tailored layers sashayed, their every turn echoing intimate connection with the clothes.

The garments themselves spoke volumes — from dark shirts with intricate embroidered collars to sheer overskirts paired with stirrup leggings and block heels, hinting at a blend of Western and Eastern European influences.

Lemaire’s expertise in soft tailoring was evident in every piece. Mannish suit jackets, loose pants with hand-rolled cuffs, and a rich array of outerwear, including aviator shearlings and raincoats, evoked a relaxed sophistication. The color palette was a cozy embrace of lichen, clotted cream, and burnt-toast browns.

The show’s intimate setting allowed guests a close-up view of the meticulous craftsmanship, from hand-drawn thistle prints to the delicate interplay of ballet and sleepwear elements.

The accessories were a nod to the brand’s folkloric theme, with abstract bolo ties and small silvery bells adorning bags. Lemaire did not just present clothes — they invited the audience into a world where fashion is a narrative woven with cultural threads.