Latest news with #ParisFashionWeek
Time of India
40 minutes ago
- Entertainment
- Time of India
G-Dragon REACTS to allegations that BTS's J-Hope ‘copied' him
After BTS member J-Hope was accused of 'copying' BIGBANG's G-Dragon during Paris Fashion Week, the latter has finally responded in a way that has managed to garner a lot of attention online. Earlier this week, J-Hope, along with various other names in K-pop like GOT7's Jackson, Mark and BamBam , attended the Paris Fashion Week. While most were excited about the attendance, some netizens were quick to accuse the BTS rapper of 'copying' G-Dragon's style. A video of the idol taken by a fan had gone viral online after he was seen entering and exiting a popular luxury brand's headquarters. While covered in bling head to toe, most fans were delighted to see the idol's new style. The video, however, earned a lot of criticism after fans of G-Dragon called him out, saying that the new style was a direct copy of what the BIGBANG member has been doing for years. G-Dragon reacts While netizens were criticising J-Hope for his new style at Paris Fashion Week, it was G-Dragon who made the first move in the most subtle way. The BIGBANG member ended up liking a post that featured the BTS member in Paris, thus putting an end to the speculations and showing his support for the 'Killin' It Girl' singer himself. Fans react G-Dragon's activity on social media garnered a lot of attention, both positive and negative. While some cited that the idol was showing his support to put an end to unnecessary hate, others started criticising him instead. Some netizens, however, took over and defended both of the idols, calling people out for saying that the situation is being blown out of proportion. One fan commented, 'Why can't you accept they have a healthy senior and junior relationship?. And even without this, Gd likes everything; I got a few from him too, so I'm being stalked by him?'
The Hindu
an hour ago
- Entertainment
- The Hindu
Jonathan Anderson for Dior was a calculated, slightly dishevelled debut
The most eagerly anticipated show of Paris Fashion Week landed quietly but assuredly with Jonathan Anderson's debut for Dior Homme. Front-row seats at the Hôtel National des Invalides were filled by fashion powerhouses and cultural icons alike: Rihanna and A$AP Rocky, Sabrina Carpenter, and Daniel Craig, all lending star wattage to the occasion. After being named artistic director of Dior womenswear just weeks prior, Anderson becomes the first designer since Christian Dior himself to oversee everything: menswear, womenswear, and haute couture at the LVMH flagship. This was not a show trying to impress with scale. It whispered its point, trusting you were listening. The Dior tailoring —impeccable, still — was softened, made breathable. Jackets retained their lines, but with a shrug. Trousers came with a drop down crotch and relaxed, more exhale than exclamation. This was Jonathan Anderson doing what he does best: filtering heritage through instinct, turning formality into something that breathes. 'It's like pulling your favourites from a wardrobe,' says Akshay Tyagi, Mumbai-based celebrity stylist. 'It's got a bit of edge. It's got panache. But it's also easy and chill.' That balance is the essence of what Anderson delivered. Past meets present The official Dior press note framed it as 'a spontaneous, empathetic collusion of then and now… a reconstruction of formality' and that was clear. Donegal tweeds, regimental neckties, and 18th-century-style waistcoats were reinterpreted, not just revived. Diorette charms, delicate florals, and embroidery hinted at Monsieur Dior's love for Rococo romanticism and British culture, but were deployed with a kind of self-aware restraint. 'There's a youthful energy here,' says Dheeraj Reddy, Mumbai-based fashion creator. 'The reconstructed suit shorts, oversized bow ties and flowing capes were sharp but whimsical.' Dheeraj points to the cropped blazers and structured shopper bags as future must-haves. Meanwhile, the military jackets brought back a touch of Kris Van Assche-era (artistic director for Dior Homme from 2007 to 2018) structure, but less rigid. Arson Nicki, a US-based fashion commentator, calls it 'the strongest debut at a couture house in quite some time.' He cites the first look — imperial collars, bar-jacket silhouettes, sculpted cargo shorts, and fisherman sandals — as a thesis in itself. 'It was unmistakably Dior, but also recognisably Jonathan Anderson,' he adds. 'Anachronistic and of-the-moment; challenging and immediate.' Still, one could not ignore the elephant — or rather, the heatwave — in the room. Europe has been burning through summers in recent years, which made Anderson's use of heavy outerwear — full-length capes, trench coats, and tailored layers — feel at odds with the spring/summer label. Strip it down, though, and there is plenty that works: tailored striped shorts, cropped waistcoats, and a standout white jumpsuit that looked like it was plucked from naval history. The white jumpsuit with the black tie and backpack, which could be a hit among GenZ, was a sleek fashion moment—it echoed the union suit, a one-piece undergarment worn by sailors and workers in the 19th and early 20th centuries. Anderson's version, minimalist and sharply cut, felt like a modern-day wink to that utilitarian history. Less costume, more quiet reference. It is safe to say the collection flirted with commercial polish, occasionally wavering between clarity and contradiction. There were shades of Hedi Slimane-era Dior Homme in there — boyish, skinny, insouciant — but Anderson's voice stayed intact. A first show does not have to solve it all. Anderson's Dior debut was a careful tune-up. A calculated start for a new chapter —one that may speak louder with time. And in a market that is shifting fast towards quiet luxury, modular dressing, and stylistic fluidity, this collection feels future-proof.
Hypebeast
3 hours ago
- Entertainment
- Hypebeast
Bode SS26 Is a Poetic Tribute to a Musical Legacy
Summary Bodehas revealed itsSpring 2026collection duringParis Fashion Weekin an intimate gathering at the theatre. This collection was created as a tribute to the great American composer Morris 'Moose' Charlap. As guests entered the theatre, they were struck with a unique show format that saw the entirety of the upcoming collection shown on miniature puppets. The dolls, wearing Bode's newest collection, were seen in two lines as audiences are able to get up close and personal to view the details of the collection. 'Moose' Charlap was best known for his score to Broadway'sPeter Panand while he died at a young age of 45, his legacy lives on in his scores and his family, including his son Bill Charlap, who is a two-time Grammy nominated musician and one of the most premier jazz pianists of his generations. Emily Adams Bode Aujla brought guests together to share some of Moose's most iconic works. Taking a moment to address the group, Bode Aujla spoke to the crowd ahead of a performance by Bill Charlap in honor of his father. The designer recalled the moment she was mesmerized by Moose'sPeter Panscore and moment when Bill and her sat in her Conneticut home recounting memories of 'Moose.' The theater had four mini modules that depicted the four most important stages of Moose's life. One was set in Central Park, a place he spent a lot of his time before and after Broadway shows with his wife and another at his boyhood camp, where he received the nickname 'Moose.' Unlike a typical Paris Fashion Week show, Emily Adams Bode Aujla present the collection by sharing her inspiration. Billy performed three songs in honor of his father, explaining to the crowd the meaning behind 'Some Summer Day' fromAlice Through the Looking Glass, 'I Won't Grow Up' fromPeter Panand 'Please Let Me Die in Paris' fromThe Expressionist. The collection has been titled 'The Expressionist' after Moose's last, unfinished musical written with lyricist Eddie Lawrence, the designer describes the collection as a visual songbook of a life in music. Bode brings to life Moose Charlap's vibrant world informed by music, giving it a visual representation in the form of fashion.
Yomiuri Shimbun
4 hours ago
- Entertainment
- Yomiuri Shimbun
Dandyism, Decadence and a Taste of Rebellion at Junya Watanabe's Vision of Paris
PARIS (AP) — A new kind of dandy took over Junya Watanabe's runway on Friday — not the traditional gentleman, but a sharp-dressed rebel with a streak of punk at Paris Fashion Week. Watanabe, the pioneering Japanese designer known for mixing classic tailoring with a wild, creative edge, unveiled a lineup of bold, offbeat looks at the Lycée Carnot. The show was sharp but rebellious, rich in history but full of energy. It wasn't about looking back. It was an explosion of new ideas. Watanabe has built his reputation by smashing the line between elegance and rebellion. This season, he didn't just mix old and new, he turned history into a weapon. His spring men's collection borrowed from the past — rich brocades, jacquards and a hint of Rococo flair — but reimagined them with a bold, punk attitude. Jackets worthy of Venetian nobility were paired with rugged workwear and raw denim, creating looks that felt both grand and streetwise. The music followed the same energy, starting with a traditional piano piece breaking down into a thumping city beat. Classic style was pulled apart and rebuilt right on the runway. Some outfits showed off sharp, careful tailoring, but the order quickly fell away — seams went crooked, sashes trailed loose, wild patterns took over. Even the ties broke free, knotted multiple times in ways that broke from tradition. Despite the wild mix of styles, the show was more than just patchwork. Watanabe was making a statement about taste itself — a constant tug-of-war between old ideas and breaking the rules. Familiar touches — a monk's robe, the rooftops of Florence — were turned into clever fashion puzzles. Throughout the collection, Watanabe's eye for detail and contradiction remained. He's known for boldly mixing sharp tailoring with street style, blending Japanese tradition with punk energy. This season, he sharpened that approach into clothes that were both smart and full of electricity, pieces that challenged the idea of what it means to dress well. By the end, the dandy wasn't just a gentleman —he was sharper, braver, both thinker and rebel.
4 hours ago
- Entertainment
Kenzo brings mischief back to Paris' iconic Maxim's with a riot of color and clash
PARIS -- Few Paris addresses conjure myth quite like Maxim's, the gilded Belle Époque haunt where artists and aristocrats once jostled for a seat at dinner, and a place immortalized in Cole Porter's lyrics and classic Hollywood films as the very symbol of Parisian chic. On Friday night, at Paris Fashion Week the renowned restaurant-turned-nightclub became the improbable stage for Kenzo's latest co-ed show — a riot of pop color, celebrity and cultural collision served tableside. Guests perched around white tablecloths as Nigo, the first Japanese designer to helm Kenzo since the late, great Kenzo Takada, set out to prove the house can still surprise. What unfolded was a knowingly playful mash-up of preppy classics and off-kilter eveningwear: eye-popping pink dresses loosely gathered and knotted, each one tossed with a Left Bank silk scarf; a slinky tuxedo jacket paired with a blaring urban-printed tee in wild color, topped with a cartoon bunny in intentional clash. Think cocktail hour by way of Shibuya street style. Tongue-in-cheek references ran rampant — a circus master's striped waistcoat here, sheeny tiger-motif pants there, all nodding to Kenzo's signature mix of high craft and subcultural wink. If the goal was to recapture the house's historic sense of fun, Nigo went all in. While the creativity on display was undeniable, the sheer abundance of ideas sometimes made it hard for a single vision to shine through. With so many bold references and layers echoing recent seasons' spirit of collaboration and eclecticism, the collection sometimes felt more like a lively collage than a focused statement. Still, there were moments where the craftsmanship and playful accessories truly stood out, offering glimpses of the distinct Kenzo spirit that Nigo has made his own. Since joining Kenzo, Nigo has brought a fresh spirit of collaboration and cross-cultural exchange, most visibly in his headline-grabbing work with Pharrell Williams at Louis Vuitton and his frequent partnerships with artists from across the globe. That outward-looking energy has helped pull Kenzo back into the pop-culture conversation, blending the house's playful legacy with new momentum. As part of the LVMH stable, Kenzo now enjoys the reach and resources of the world's largest luxury group, giving Nigo freedom to experiment, push boundaries and reawaken the brand's irreverent roots. It was a night that nodded to both past and future. After a string of worn years under the previous design duo, Kenzo seems determined to shake off old dust and reclaim its seat at Paris' most storied table. The show at Maxim's — equal parts fashion circus and cultural memory — was a reminder that Paris style is best served with a wink, a clash and more than a little mischief.
