Or PV, as it’s referred to by those who attend, is a fashion textile show held in Paris twice a year. As its name suggests, it’s an initial view into apparel and accessory collection ideas for next year’s seasons. Held twice a year, this past week’s show was Autumn/Winter 16/17.
And now’s the time. Styles for next Autumn will already be in stores next year at this time, soon followed by Winter. It may seem like a long way off, but from now till then it’s a non-stop effort to pull collection designs together, merchandise and edit a line, place fabric, accessory, and garment orders, tweaking design, color and fit during the process, all the while considering production time and logistics, which usually involves raw material and finished product being developed, made, and shipped from halfway around the world.
The last time I attended PV was 20 years ago. Not much has changed since then in its format. The show is about new yarns, fabrics, designs, colors, textures, accessories, and prints — on all types of fabric, including leathers. There are hundreds of thousands of fabrics and tens of thousands of prints. If you are a clothing designer, getting the most out of the show means planning time wisely. There are hundreds of exhibitors, (dominated by Italians), each with 8,15, 20 or more tables inside their booths, which for many, remain full by appointment only.
The tens of thousands of fashion designers from all over the world who attend PV walk the show taking copious notes, evidence that this is a serious show. Each of the six major exhibition halls has a nucleus area displaying groups of fabrics neatly arranged by dozens of themes — describing them with phrases like; inner dazzle, rigorously drawn, refined flexibility, rustic minimalism, extreme thrills, playful interweaving, noble undulations, silky performance,…and the list could fill a few pages. The locution describing fashion stories is more intricately subtle than hearing sommeliers describing complex fine wines. Since this is not a fashion blog, I’ll not go there.
In Le Forum area the PV board exhibits what they’ve determined is the color direction for the next year, with 23 softly oscillating banners each one of the colors. A small sampling can be purchased for a cool 150 Euros. Photos are strictly prohibited. In fact, throughout the show there is an army focused on camera security, demanding anyone caught catching a snap to immediately delete the image.
Inside the color area, surrounded by displays of multifaceted fabrics, are a couple of digital presentations on large screens, with a substantial sitting and viewing area, usually full, showing conceptual applications of color into fabric texture and design, giving attendees the chance to fully-absorb the essence and feeling for 16/17 Autumn/ Winter.
PV encapsulates the season’s idea with the following paragraph:
“Autumn winter 1617 gives voice to creative forces. It carries a strong-minded aesthetic message, and brings multiple cultures and genres face to face. The season leaves nostalgia behind, without fantasizing over a too-distant future. It draws on the present to create beauty, offer something new, go beyond the expected. Reality isn’t enough? Let’s transform it to make it more extraordinary, plug it into our imaginations, have a laugh with it, augment it to sketch out future fashions. Let’s give it a ‘material’ dimension, to wear it right on our bodies.”
To make this more digestible and to add perspective, they outline three major fashion stories and 10 minor themes as follows:
- flawed beauty
- cross-cultural connections
- digital poetry
- a furtive gleam
- an unfolding suppleness
- a puzzling blur
- a natural fantasy
- Strong Minded
- a vaunted solidity
- a foolproof technology
- a decorative message
The stories are described in significantly more detail in the show brochures.
Bottom line, if you are involved in apparel fashion direction on any scale, this three-day event is a place for a valuable head start. At the same time, you can also sink into inspiration overload if you are not careful. It helps to go with your sensory receptors open yet with a focused efficiency. And, to understand that this first view is not the only view.
Although I’m not a designer by trade, I constantly endeavor to satisfy those with whom I work, so the trip was a good re-insight to arguably the most important global show of its kind.
In all, several welcome work days out of the routine. And, the pressure, and all the accompanying excitement for the 16/17 autumn/winter season has just started.
There are all types of button-down shirt guys, from dressy to messy, and (at least) two who fit into the casual bucket are mr downtown and mr uptown.
doesn’t mind wrinkles
doesn’t like wrinkles
centered on trousers
Of course there is crossover. Both are interested in style and like to buy premium. For the shirt, it’s in the details and how it’s worn.
Let’s face it, both are cool dudes.
And skinny is the new slim.
For years, whether they were jeans, dressy trousers, or chino types, I bought waist size 32-33 pants. Men’s pants, and clothes in general, measured true, or almost true. A 32 inch waist measured up to 32 3/4 inches (to include a small tolerance). Depending on the brand, or the pant itself, sometimes I’d buy 32, others a 33, but the size never varied beyond that range.
Then around 15 years ago, we decided to grow our sizes, or shrink them depending on how you look at it. In an effort to feel better with our size, tolerances have increased. A marked size 32 became an actual size 34 or 35. The result is, retailers have helped convince us that we are smaller than we actually are.
I’m no smaller in height, weight or bone structure than I was when I was younger, yet I’ve gone from buying size large in both casual button-down shirts and tee shirts to size small. Yes, the fits have changed and we tend to wear trimmer, less boxy clothes, but still, we’ve over compensated with smoke and mirror measurements.
When I first started in the apparel business, I spent time in garment factories with quality engineers who showed me how to measure garments. While women’s waist measures change according to rise, how men wear pants has not varied much over the years. We still wear them on our hips (for the most part).
I first started noticing the change about 12 years ago when I tried on a couple of premium “made in Italy” jeans styles at Diesel’s exclusive Soho boutique and size 32 was too large. Magically, 31 was evidently my new waist size.
Several years later I bought a couple of twill pants at Banana Republic and again, size 31 waist fit me perfectly. I bought two again at the same store this week and presto, 30 is my new size. I got no smaller in the meantime.
The measurement around my hips is just under 33 inches, if I exhale, maybe 32. It’s impossible that I’d measure any smaller because the pelvis bones are the limiting factor. There is no way I’m a size 30, but across the board, apparel brands have grown garment sizing and are telling me that I’m now a 30.
I tried on pants this past week from Scotch & Soda and from All Saints — two boutique chains. In both, 30 was my size. I therefore decided to do a random sampling at various other stores. So armed with tape measure and note pad, here is what I found in men’s pants:
- Sand (brand from Denmark) size 32 measured 34
- Old Navy khaki trouser size 34 = 37
- Old Navy slim jean, size 32 = 35
- Old Navy jogger, size M = 35 (relaxed elastic waistband)
- Banana Republic chino, 30 = 32 and 32 = 34
- Banana Republic skinny jean, 30 = 33 and 31 = 34
- Zara skinny jean, 30 = 33 and 34 = 38
- J Crew chino, 32 = 35
- Gap straight leg denim, 36 = 39
- Gap skinny denim, 34 = 37
- Scotch and Soda skinny, 30 = 33.5
- All Saints skinny, 30 = 32.5
All samples were picked at random and measured the same and had the same rise (fit on hip).
One exception, although I bought them a few years ago, a pair of city riding pants from a brand of exceptional cycling clothes from the UK called Rapha. Their size 32 fits me perfect and measures just under 33, as true to size as there is in the market. And in all fairness, I picked up a 3/4 length short from Uniglo this week in size M and it too fits fine, although I need a belt even though it has a full elasticated waistband.
I have a jacket from a European brand in size Large, which fits like it should. And another from Uniglo, a Japanese brand, in size XS which fits about the same. L = XS??
I know a woman who I consider a size medium, but she swims in size S and must buy XS or petite. J Crew offers size triple zero for women’s. Triple zero? We no longer measure like it is, rather we tell ourselves we are smaller than we actually are.
Put another way, in the face of an obesity epidemic brewing in the USA over the last couple of decades, our waist sizes have suddenly reduced two to three inches across the board. That makes a lot of sense — in the land of milk and honey.
In addition to sizing, we’ve gone description crazy. As we described gasoline for our cars from regular and premium grade to super and ultra-premium, in clothes we’ve gone from slim and slender to skinny and super-skinny, and even toothpick. Some brands demurely call their extra slim fits “tailored slim” or “modern slim.”
Bottom line, even if your didn’t want to, or didn’t know you did, be happy you got smaller. No matter your size, you’ll fit a skinny.
Chances are, the fabric from the shirt you are wearing was shown in a fabric show in some part of the world. It may be that the yarns to make that shirt were shown in a yarn show. And the shirt itself in an apparel show, and the machines to make all those processes in other shows.
The first important fabric show I attended was almost 20 years ago in Paris, where I was bedazzled by the variety and quality at Primer Vision, or PV as it is called. After two days of walking the show I didn’t get close to seeing everything. This is one of the shows that sets the stage for upcoming fashion.
Someone I’ve known for a long time started a denim show about a decade ago called Kingpins. I attended his first show in New York where there were several dozen suppliers of high-end denim showing their new collections. Since then, Kingpins has grown to be one of the most important denim shows, with venues in the US, Asia and Europe, attracting manufacturers, suppliers, and high-end indigo aficionados from all over.
As in apparel, there is a lot of competition in the textile show world. In China, a behemoth of fabric production (supplying fabric for a majority of apparel production around the world), someone looking for fabric trends can find shows in many important cities at key times of the year. Shows tend to be grouped together, in the same general area at about the same time. For example, if you are showcasing an apparel brand in New York or Las Vegas, there are about five different shows during the same week to choose from.
The show last week where a team of us exhibited was Intertextile, in Shanghai. They say it’s the largest in this part of the world. In prior seasons the venue was the Pudong section of Shanghai, but this time was moved to the other end of town, Hongqiao convention center. The place is massive enough to use gps to get around.
In this show you can find just about any type of apparel or accessory fabric imaginable. Our focus was on men’s and women’s shirting fabrics. We were one of hundreds.
Because we were a supplier among multitudes, the booths were all open to the tens of thousands who attended the three-day show. Interestingly, even though there were suppliers from all over the world, the Italians kept a lid on who they let see their fabric. Besides needing a pass to get into the show itself, to get to the Italian section, you needed an additional pass by special invitation only. Once inside, the Italian booths had doors, providing a double layer of security for the designers showing their new innovations in a country that excels at knockoff.
In textile shows like Intertextile, there is always a large mix of exhibitors, from fabric mills, to printers, to trading companies like ours. It was a fabulous experience. With luck, we’ll be back doing it again in October.