PARIS — Illuminated by the last hour of daylight shining through the glass ceiling of La Maison des Métallos, attendees packed shoulder to shoulder on bleachers to view the works of Bahar Kianpour, Call and Response and Perry Jones on Thursday.

The show was the third and final showcase of the day hosted by the Global Fashion Collective, also highlighting the work of students involved in Graduate Runway — a separate initiative that aims to provide industry experience and platform the work of fashion students in India. 

Through elements like intricate beadwork and unconventional leather craftsmanship, the collection defied conventions of structure and thematics alike.

Bahar Kianpour

The latest collection of Bahar Kianpour’s eponymous brand explored “Lamenta,” which she described on Instagram as “a quiet mourning of unspoken emotions, a fragile world shaped by sorrow, memory and longing” ahead of the show. 

The Vancouver-based designer communicated a more visceral interpretation of grief through designs that, at times, appeared anatomical in nature — ruby beading on a dress that resembled a gash over the heart, and black ribbon threaded over a bodice reminiscent of ribs. The intricacies of memory and emotion were also embodied by the collection’s usage of props, such as models holding roses or adorning themselves with cross imagery. 

One look, what appeared to be a bridal gown and veil cast in black, fully realized Kianpour’s blending of joy and melancholia. The runway’s gradual progression from darker to lighter colors added complexity to the theme, emphasizing Kianpour’s attention to accessorization. One model wore a white dress with a feathered skirt that featured tear-like silver pendants stitched across its neckline — minute details that became a highlight as they swayed and refracted light.

In addition to conveying a sense of rich emotional ambiguity, Kianpour’s pieces stood out for their innovative structures: One model wore a two-piece set with a layered skirt that flared outwards like a bustle dress, evoking Marie Antoinette. Kianpour’s androgynous stylistic choices, such as pairing a brocaded pair of dress pants with a corset or a structured vest piece with a miniskirt, also held the spotlight. ​​Model Keegan Nypuik closed the collection in a lacy white suit, embellished with butterfly ornaments on the lapel and dress-like tiers of lace draped beneath the jacket.

“I really like the fringe and the beadwork,” Nypuik told WSN. “And I really liked how I felt, like I could be masculine but also soft as well.”

Call and Response

The fashion design studio headed by Catharine Robinson, Lori Marcuz and Annie McDayter showcased a collection that reveled in a multitude of textures and warm hues. The brand is known for its work with musicians, dancers and other artists, with Robinson and Marcuz having previously costumed Prince in jackets from 2011 through 2016. Call and Response’s roots in performance were evident in the collection’s offerings: bellbottom pants, fringe and innovative patterns perfectly suited for the stage.

The looks recurrently featured leather and velvet, which were cut and layered in a way that made typically heavy fabrics look liquid. One model’s vivid purple velvet gown, which was accompanied by a high-neck, iridescent leather coat cropped like a bolero shrug, appearing fluid on the catwalk in spite of the weighted material.

“I loved the work, the color, the detail, the texture,” attendee India Foster said. “For me, when I see that, I can feel it so well, and I just want to go and touch it.”

Perry Jones

Perry Jones knows a thing or two about a good suit. The designer incorporated shimmering, sequined material and experimental hemlines into his collection, subverting the expectations of traditional evening wear. To him, the most important facet of a suit is its tailoring.

“You can have a great fabric, but if the cut is not there, then the suit is loose,” Jones told WSN. “You could have an Armani suit or any Tom Ford suit, but if it’s not looking right on the person, it makes a million-dollar suit look like $100.”

That belief manifested in his utilization of modern design elements: a pantsuit with a plunging neckline held together by an ornamental broach, as well as time-honored details on pieces like a dress hemmed with a shimmering Art Deco pattern and flapper-esque levels of fringe.

“I want my fabric to be universal,” Jones said. “What you see up on the runway, you can see on the red carpet. What you see on the red carpet, you can go on a date in or go to a business setting.”

Models highlighted Jones’ wide range of looks to bassy tunes and classics including Madonna’s “Like a Virgin.” The looks were showcased with a degree of showmanship — a model strutted with a sweeping silk tailcoat, which was replaced by another to reveal her backless halter vest and long, fur-trimmed gloves.

Similarly to Kianpour’s showcase, the collection concluded with the models taking to the runway once more, side by side with the Graduate Runway students who styled them.

“This is something in the future that we can all have together,” Jones said. “It’s like a whole classroom.”