Paloma Wool in Paris: eroticism and sensuality, between dropped linings and nudity

We conclude our review of the latest edition of Paris Fashion Week, focusing on the collection presented by Spanish fashion label Paloma Wool. The brand has become a regular fixture on the Parisian catwalk, having made its official calendar debut in October 2023.

As scheduled, Paloma Wool has remained a constant name since its debut three years ago. The fashion label by designer Paloma Lanna returned to the French capital this October to present its spring/summer 2027 collection as part of the official Paris Fashion Week calendar. This marks the seventh collection it has presented under the Paris Fashion Week umbrella since its debut in October 2023, always participating in the official calendar's 'presentations' section. However, Paloma Wool has consistently challenged this label. The brand opts to present each new collection with a runway show, albeit one with a more intimate and relaxed atmosphere than those held by fashion houses in the 'runway show' category.

Setting aside these matters of etiquette and organisation, which are never insignificant at a Fashion Week, especially Paris Fashion Week, Paloma Wool presented its collection on Sunday, October 4. The show took place in the halls of the Maison de la Chimie. This conference and event centre is housed in a historic 18th-century “hôtel particulier” in the heart of Paris, just a few steps from Les Invalides, the Pont Alexandre III and the Grand Palais. The atmosphere was perfectly aligned with the feel of the brand's collection, which was revealed as a particularly erotic, sensual and elevated proposal. It featured both direct and veiled references to the single “Margot Tenenbaum” by the Berlin-based Canadian singer-songwriter, Brat Star.

Opulence and erotic decadence, amidst linings and ochres

Analysing the collection in greater depth, the proposal unfolded a symphony of colour dominated by ochre and golden sand tones in the salons of the “hôtel particulier”. These chromatic accents gave the collection an aura of refinement and baroque exuberance, reminiscent of the monumental Paris of grand palaces and lavish parties. Throughout the collection, these tones were combined with off-whites; blacks; dusty pinks; moss and olive greens; lilacs; and turquoise blues and greens. These particularly intimate tones emphasise the rich, sumptuous foundation of the collection, while also speaking to the erotic and decadent sensuality the pieces evoke.

Giving shape to these impulses and building on this carefully curated colour palette, the collection presents a series of silhouettes that are both bold and elegant, vintage and modern, restrained and free. The designer constructs a play of opposites with the traditional lining of womenswear as the main feature. It is not simply left visible but is raised and shortened to form tops; lowered and adorned with ruffles to create the hems of deconstructed skirts held by thin straps; or even given the full dimension and weight of a skirt or an evening gown.

As a result, the collection's key pieces include long and short, 1920s-inspired straight dresses, alongside tailored trousers; leather ruffled skirts; short bolero-style jackets; and tops, skirts, dresses and bodices made entirely or partly from semi-transparent 'lining' fabrics. This material is a key element, alongside golden jacquard and check-printed silk, which are used to create another series of pieces. This repetition helps to unify the stylistic narrative, elevating it through the visual and textural richness of both fabrics. This elevation is further enhanced by patterns and inspirations from 1920s 'flapper' fashion. Other key garments include the sack dress that opened the show, and leggings and a transparent black bodice with feather-effect embellishments. The looks were completed with a collection of accessories, notably court shoes with almost fully exposed toes and bags decorated with lyrics from the Brat Star song “Margot Tenenbaum”.