Issue link: http://papercitymagazine.uberflip.com/i/1539744
© DAVID HOCKNEY. YAGEO FOUNDATION COLLECTION, TAIWAN. PHOTO JENNI CARTER. © ART GALLERY OF NEW SOUTH WALES quiet authority. There were visual echoes of Pedro Almodóvar and Wong Kar-wai in the saturated palette and deliberate pacing. Menswear drew from Chilango tailoring; womenswear, created with Rebeca Mendoza, featured sharp waists, strong shoulders, and sculpted sleeves. For the finale, Chavarria was flanked by Farida Khelfa and Omahyra Mota before placing a bouquet in his mother's hands — a closing image that wove politics, heritage, and romance into one unforgettable Paris moment. Dior Spring/Summer 2026 Jonathan Anderson's arrival at Dior isn't a mere change at the helm — it's a creative power shift. Appointed Dior Men's artistic director in April 2025 and, within weeks, entrusted with women's, couture, and accessories, he's the first since Christian Dior himself to oversee the full spectrum of the house. The appointment reads as a strategic rewrite of Dior's future. His Spring/Summer 2026 menswear debut at the Hôtel National des Invalides treated the maison's codes as both sacred and subversive: Bar jackets cut against couture-grade cargo shorts, streetwise tailoring offset by accessories with sculptural intent. It was elegance charged with friction, a collection where history felt alive and impatient. If his Loewe years proved he could make heritage feel current, Dior may be where Anderson turns relevance into cultural dominance. Balenciaga by Demna Balenciaga by Demna in Paris was both a retrospective and declaration — 101 looks tracing a decade in which the Georgian designer dismantled and rebuilt the house's identity. Staged inside Kering's restored Laennec headquarters, the exhibition distilled 30 collections into a sequence of charged tableaux: radical tailoring, confrontational accessories, and pieces that collapse the space between couture and cultural commentary. Demna's own curation pulls in key artistic interventions — Mark Jenkins' humanoid sculpture of a Summer '22 Red Carpet finale look, Andrew J. Greene's motorized plinths for Timeless Symbols — anchoring them with archival loans from the Palais Galliera. The result is an unflinching study in disruption, showing exactly how Balenciaga became both lightning rod and cultural barometer. Rick Owens: Temple of Love Temple of Love turns the Palais Galliera into a Rick Owens universe — brutalist, seductive, and entirely its own. Owens was in full control, draping the façade in silver sequins, planting the gardens with Californian flora, and dropping 30 raw- cement sculptures like relics from a future ruin. It's theater before you've even stepped inside. Within, more than a hundred looks trace his path from underground L.A. to the sculptural extremes of Paris, punctuated by personal artefacts, film pieces, and references to Gustave Moreau, Joseph Beuys, and Steven Parrino. A m e t i c u l o u s reconstruction of his bedroom with M i c h è l e L a m y softens the edges — love and domesticity set against the drama. This isn't a tidy retrospective; it's a fully staged Rick Owens state of mind, where fashion, architecture, and ritual converge. Through January 4, 2026, at Palais Galliera. Hockney in Full Color Seven decades of invention — from California light to the Normandy iPad landscapes I first saw at MFAH — unfold in Paris with the same energy that fuels his work at age 88. David Hockney 25 turned the Frank Gehry-designed Fondation Louis Vuitton into a living canvas. Eleven rooms, each a world of its own. Early portraits with taut lines and British cool. Pools so blue you can almost smell the chlorine. Normandy's orchards, drawn on an iPad, their blossoms pixel-bright yet painterly — works I first lingered over at MFAH in 2021, now humming with fresh Parisian charge. It's intimate yet cinematic: the hush of memory, the thrill of invention. Technology slips into his hand like another brush — iPhones, iPads, digital screens — folded seamlessly into his visual vocabulary. Artnet calls out the force of his output at 88, and they're right. This isn't nostalgia. It's proof that curiosity can stay razor-sharp, that in Hockney's hands, light still cuts like glass. 69 Pinault Collection's Bourse de Commerce. At its center, Céleste Boursier-Mougenot's Clinamen Willy Chavarria 2026 Spring Summer Willy Chavarria 2026 Spring Summer Dior Homme 2026 Spring Summer Above:David Hockney's Portrait of an Artist (Pool with Two Figures), 1972 Balenciaga, 51st Couture Invitation, needle, thread, gold-toned metal Rick Owens: Temple of Love