Paris Fashion Week: the art of dressing with effortless grace according to Auralee and The Row
Alongside Saint Laurent and Louis Vuitton, other labels shone on the Parisian catwalks on Tuesday, despite being less well-known to the general public. Like Japanese label Auralee and US label The Row. With their understated fashion and practical looks, though by no means unsophisticated and designed using the finest fabrics, Auralee and The Row won over their audiences on the first day of the Spring/Summer 2026 runway shows. Especially through the artistry they showed in dressing men (and women too) with a natural, effortless grace.
Towards the end of a still hot Parisian afternoon, Auralee hosted its guests in the shadowed quiet of the Musée des Archives courtyard. Designer Ryota Iwai drew his inspiration for the label's new collection from Japan's extremely fickle spring weather, the year's first warm days often disturbed by strong, sudden gusts of wind. This notion of abrupt change was reflected in a versatile collection whose silhouettes were fashioned through a seemingly random mix of garments.
A model wore a suit over a pair of flip-flops, the jacket tied at the waist like a pullover. Another donned an oversized black trench coat giving him a rebel rocker vibe, long hair framing his face and eyes hidden behind a pair of small round dark glasses. Getting dressed in the morning, still unaware of how the day will unfold, Auralee men might slip a terry hoodie over a shirt with micro checks, worn with a simple pair of beige cotton trousers. Otherwise, they might wear a coat in an unexpected colour over a pair of stone-washed jeans and a loose sweater.
The suits were nicely tailored and all had a fluid, nonchalant feel. They were made in ultra-lightweight cashmere or wool blended with silk, like the coats and the very fine knitwear. Auralee manufactures its fabrics in-house, sourcing yarn and fibres from top suppliers all over the world: in Peru for alpaca, New Zealand and Scotland for wool, and Mongolia for cashmere. The fabrics are then developed independently by Iwai in Japan, where the collection was produced.
This season, Iwai designed a series of women's wool bodysuits looking very much like swimsuits, as well as mini-shorts and bras in the same material, worn under svelte overcoats or waterproof jackets. His models wore pretty, snug women's sandals made by Auralee, which began producing its footwear in-house three years ago. Leather and suede were prominent in this summer collection, both characterised by a supple, airily soft feel. Auralee used them to make suits, shorts and polo dresses of unexpected lightness.
The collection featured a subtle symphony of contrasts, for example combining rich textures with more feathery, lightweight items, or introducing within its rather austere-seeming wardrobe of beige or grey monochrome looks, consisting of suits and shirts cuts from the same fabric, a series of fresh, luminous hues symbolising the onset of spring, like mustard and canary yellow, poppy red, bottle and pea green.
The Row conveyed the same desire to leave behind the rigours of winter and formally tailored clothes, and switch to a lighter fashion. Although the garments were ultra-sophisticated, they put comfort first and were very easy to wear.
For the Spring 2026 season, The Row has imagined that men will take the time for a moment of respite. Warm weather may urge them to enjoy their leisure, and they may switch from suits to more laid-back outfits that harmoniously incorporate more easy-going garments, like the long-sleeved grandfather sweater with a row of small buttons, or the white brushed-cotton Bermuda shorts peeking out from under a loose, elegant pair of black shorts.
The collection's attitude was relaxed and nonchalant. The silhouettes were soft, featuring feather-weight silk trousers matched with a tonal cotton shirt in butter yellow. A thinly striped shirt was made in lightweight cotton, so light that one would hardly feel it on the skin, as though it was transparent. The same effect made by the cute, soft cashmere sweaters.
As they do for their womenswear, sisters Mary-Kate and Ashley Olsen pay almost maniacal attention to every detail of their menswear collections, which they launched in 2018. From fabric research, since they only source from the best suppliers, to the tailoring and garment details, as shown by the super-soft Scottish flannel they chose for the lining of a linen coat.
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Fashion Network
35 minutes ago
- Fashion Network
Paris Fashion Week: the art of dressing with effortless grace according to Auralee and The Row
Alongside Saint Laurent and Louis Vuitton, other labels shone on the Parisian catwalks on Tuesday, despite being less well-known to the general public. Like Japanese label Auralee and US label The Row. With their understated fashion and practical looks, though by no means unsophisticated and designed using the finest fabrics, Auralee and The Row won over their audiences on the first day of the Spring/Summer 2026 runway shows. Especially through the artistry they showed in dressing men (and women too) with a natural, effortless grace. Towards the end of a still hot Parisian afternoon, Auralee hosted its guests in the shadowed quiet of the Musée des Archives courtyard. Designer Ryota Iwai drew his inspiration for the label's new collection from Japan's extremely fickle spring weather, the year's first warm days often disturbed by strong, sudden gusts of wind. This notion of abrupt change was reflected in a versatile collection whose silhouettes were fashioned through a seemingly random mix of garments. A model wore a suit over a pair of flip-flops, the jacket tied at the waist like a pullover. Another donned an oversized black trench coat giving him a rebel rocker vibe, long hair framing his face and eyes hidden behind a pair of small round dark glasses. Getting dressed in the morning, still unaware of how the day will unfold, Auralee men might slip a terry hoodie over a shirt with micro checks, worn with a simple pair of beige cotton trousers. Otherwise, they might wear a coat in an unexpected colour over a pair of stone-washed jeans and a loose sweater. The suits were nicely tailored and all had a fluid, nonchalant feel. They were made in ultra-lightweight cashmere or wool blended with silk, like the coats and the very fine knitwear. Auralee manufactures its fabrics in-house, sourcing yarn and fibres from top suppliers all over the world: in Peru for alpaca, New Zealand and Scotland for wool, and Mongolia for cashmere. The fabrics are then developed independently by Iwai in Japan, where the collection was produced. This season, Iwai designed a series of women's wool bodysuits looking very much like swimsuits, as well as mini-shorts and bras in the same material, worn under svelte overcoats or waterproof jackets. His models wore pretty, snug women's sandals made by Auralee, which began producing its footwear in-house three years ago. Leather and suede were prominent in this summer collection, both characterised by a supple, airily soft feel. Auralee used them to make suits, shorts and polo dresses of unexpected lightness. The collection featured a subtle symphony of contrasts, for example combining rich textures with more feathery, lightweight items, or introducing within its rather austere-seeming wardrobe of beige or grey monochrome looks, consisting of suits and shirts cuts from the same fabric, a series of fresh, luminous hues symbolising the onset of spring, like mustard and canary yellow, poppy red, bottle and pea green. The Row conveyed the same desire to leave behind the rigours of winter and formally tailored clothes, and switch to a lighter fashion. Although the garments were ultra-sophisticated, they put comfort first and were very easy to wear. For the Spring 2026 season, The Row has imagined that men will take the time for a moment of respite. Warm weather may urge them to enjoy their leisure, and they may switch from suits to more laid-back outfits that harmoniously incorporate more easy-going garments, like the long-sleeved grandfather sweater with a row of small buttons, or the white brushed-cotton Bermuda shorts peeking out from under a loose, elegant pair of black shorts. The collection's attitude was relaxed and nonchalant. The silhouettes were soft, featuring feather-weight silk trousers matched with a tonal cotton shirt in butter yellow. A thinly striped shirt was made in lightweight cotton, so light that one would hardly feel it on the skin, as though it was transparent. The same effect made by the cute, soft cashmere sweaters. As they do for their womenswear, sisters Mary-Kate and Ashley Olsen pay almost maniacal attention to every detail of their menswear collections, which they launched in 2018. From fabric research, since they only source from the best suppliers, to the tailoring and garment details, as shown by the super-soft Scottish flannel they chose for the lining of a linen coat.
Fashion Network
35 minutes ago
- Fashion Network
Après an AMI fashion moment, le déluge
Just when you thought you were about to expire for the lack of a dramatic shows in the current European runway season, along comes Alexandre Mattiussi, and the gods of light and rain, to provide a proper fashion moment. See catwalk Alexandre's location could not have been bettered. One of Paris's greatest roundabouts, the Place des Victoires, centered around a massive bronze equestrian statue of Louis XIV in all his glory. Underlining his growing reputation, and CEO Nicolas Santi-Weil's powers of persuasion, city hall let AMI close off the square for the day. Allowing Mattiussi to set up two wide circles of wooden school chairs for guests, while hundreds of fans gathered at windows in 18th century townhouses overlooking the show. A perfect setting provided the weather was inclement, which it was, just. Drops of rain speckled shirts and blouses even as the show began. The models circling the statues in tighter circles, before finally gathering at the base of the statue. It's a beautiful square, once graced by flagship stores for the likes of Mugler, Kenzo and Boss, where AMI now has its showroom and design studios. Mattiussi may not have the theatrics of certain designers, nor the draping skills of others, but what he does is a brilliant instinct for Parisian chic. Every single look in this co-ed show had pep and élan, in a first-rate fashion display. See catwalk Adding to the magic, Maurice Ravel's "Boléro" boomed out, in a particularly charged version from the Brussels Philharmonic. As the show opened with some great satin redingotes, jaunty blazers and crisp flared pants for women. While for guys, one got frilly checked shirts, suede second-skin overshirts or oversized artists smocks. Very savvily, Mattiussi conjured up a whole new cocktail dress with a mega side buckle matching the material, whether pale gray suede or faded gold. His skirts were wide and to the knee, sweaters were forgiving, but everything whispered cool, debonair and French. The mood was upbeat, even before the show, as the crowd applauded in hundreds of students to the standing section wearing black T-shirts reading Place des Victoires. The Sun King looking down benevolently, even as the sky grew darker and then black, as the cast stuck close to the statue. A huge burst of applause greeting Alexandre as he trotted around the square for his bow. Exiting just as an evil wind from the west, the sort one gets Paris late evenings in June, announced a thunderstorm. And the heavens opened in a torrential downpour. The audience scattering out of the show. Talk about a veritable deluge. Old Louis must have got a kick. See catwalk Talk about lucky timing. The gods of light and rain didn't so much bless Alexandre Mattiussi, as grab him in a loving embrace. Couldn't happen to a nicer guy.
Fashion Network
8 hours ago
- Fashion Network
Paris Fashion Week: the art of dressing with effortless grace according to Auralee and The Row
Alongside Saint Laurent and Louis Vuitton, other labels shone on the Parisian catwalks on Tuesday, despite being less well-known to the general public. Like Japanese label Auralee and US label The Row. With their understated fashion and practical looks, though by no means unsophisticated and designed using the finest fabrics, Auralee and The Row won over their audiences on the first day of the Spring/Summer 2026 runway shows. Especially through the artistry they showed in dressing men (and women too) with a natural, effortless grace. Towards the end of a still hot Parisian afternoon, Auralee hosted its guests in the shadowed quiet of the Musée des Archives courtyard. Designer Ryota Iwai drew his inspiration for the label's new collection from Japan's extremely fickle spring weather, the year's first warm days often disturbed by strong, sudden gusts of wind. This notion of abrupt change was reflected in a versatile collection whose silhouettes were fashioned through a seemingly random mix of garments. A model wore a suit over a pair of flip-flops, the jacket tied at the waist like a pullover. Another donned an oversized black trench coat giving him a rebel rocker vibe, long hair framing his face and eyes hidden behind a pair of small round dark glasses. Getting dressed in the morning, still unaware of how the day will unfold, Auralee men might slip a terry hoodie over a shirt with micro checks, worn with a simple pair of beige cotton trousers. Otherwise, they might wear a coat in an unexpected colour over a pair of stone-washed jeans and a loose sweater. The suits were nicely tailored and all had a fluid, nonchalant feel. They were made in ultra-lightweight cashmere or wool blended with silk, like the coats and the very fine knitwear. Auralee manufactures its fabrics in-house, sourcing yarn and fibres from top suppliers all over the world: in Peru for alpaca, New Zealand and Scotland for wool, and Mongolia for cashmere. The fabrics are then developed independently by Iwai in Japan, where the collection was produced. This season, Iwai designed a series of women's wool bodysuits looking very much like swimsuits, as well as mini-shorts and bras in the same material, worn under svelte overcoats or waterproof jackets. His models wore pretty, snug women's sandals made by Auralee, which began producing its footwear in-house three years ago. Leather and suede were prominent in this summer collection, both characterised by a supple, airily soft feel. Auralee used them to make suits, shorts and polo dresses of unexpected lightness. The collection featured a subtle symphony of contrasts, for example combining rich textures with more feathery, lightweight items, or introducing within its rather austere-seeming wardrobe of beige or grey monochrome looks, consisting of suits and shirts cuts from the same fabric, a series of fresh, luminous hues symbolising the onset of spring, like mustard and canary yellow, poppy red, bottle and pea green. The Row conveyed the same desire to leave behind the rigours of winter and formally tailored clothes, and switch to a lighter fashion. Although the garments were ultra-sophisticated, they put comfort first and were very easy to wear. For the Spring 2026 season, The Row has imagined that men will take the time for a moment of respite. Warm weather may urge them to enjoy their leisure, and they may switch from suits to more laid-back outfits that harmoniously incorporate more easy-going garments, like the long-sleeved grandfather sweater with a row of small buttons, or the white brushed-cotton Bermuda shorts peeking out from under a loose, elegant pair of black shorts. The collection's attitude was relaxed and nonchalant. The silhouettes were soft, featuring feather-weight silk trousers matched with a tonal cotton shirt in butter yellow. A thinly striped shirt was made in lightweight cotton, so light that one would hardly feel it on the skin, as though it was transparent. The same effect made by the cute, soft cashmere sweaters. As they do for their womenswear, sisters Mary-Kate and Ashley Olsen pay almost maniacal attention to every detail of their menswear collections, which they launched in 2018. From fabric research, since they only source from the best suppliers, to the tailoring and garment details, as shown by the super-soft Scottish flannel they chose for the lining of a linen coat.
