PRADA Designed as ‘an experimental and informal stage for performance’ in the vein of Pina Bausch, the set was enclosed in metallic mesh scaffolding, with all surfaces covered in the textile material and dramatically lit to enhance the geometric design of its elements. The collection, meanwhile, took cues from the 1972 Fassbinder film The Bitter Tears of Petra von Kant
MAISON MARTIN MARGIELA: The show took place in the basement of the 1960s building, with its half-buried dome’s silhouette reflected by mirrored panels and the sage-green carpets left exposed
Jil Sander: Eschewing the customary pure white of the past, Thierry Dreyfus created a more contrasting design for Jil Sander’s latest menswear outing. The set had a darker atmosphere, which was enhanced by the grey inclined catwalk that wrapped around the seating benches, and the subdued lighting that created a more moody effect
Kris Van Assche: This season the designer mixed traditional motifs and textures with John Baldessari-inspired prints. To enhance the rich garments, the set was a minimal affair, with a wide white catwalk illuminated by a bright set of spotlights running overhead
Raf Simons: The designer paired up with artist Sterling Ruby for his A/W collection, with the show’s set presenting a tribute to the American guest. Simons’ models walked under the artist’s sculptures from his ‘Soft Work’ series, which hung above the catwalk, bearing the American flag
Saint Laurent: Hedi Slimane’s lighting arrangements never fail to amaze and this season’s set up at the L’Hôtel national des Invalides didn’t disappoint. Modular blocks moved down the wide catwalk in a geometric installation of giant flickering lights
Y-3: The catwalk at Y-3 was enlivened with black and white graphic elements, with matching neon tube lighting, referencing the stripes of the Adidas logo and the collection’s comic inspiration
Lanvin: Lucas Ossendrijver chose the École nationale supérieure des Beaux-Arts to present his new Lanvin collection once again. The architectural elements of the Parisian school’s hall were left bare, and the floor mosaics became the catwalk. The superb lighting arrangement by Villa Eugenie enhanced the show’s dramatic setting
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