Paul & Joe (Q2119)
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- Paul Joe
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Paul & Joe |
No description defined |
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Paul & Joe founder Sophie Méchaly loves a sharp suit. She can also cut a trouser with the best of them, so it’s no wonder that pants are her brand’s perennial best seller. For Fall, those trousers are cropped and flared, or they might come in butter yellow, cuffed wide-wale corduroy, or straight and sleek, as on a shiny bronze pair.A meteor shower, naive posies, strass hearts, and emojis inform the season’s motifs, while Méchaly’s beloved cat is back, lazing belly up on the back of a perfecto scrawled with the maxim “Innocent until proven guilty.” Taken together with a leopard-print coat or a wide-lapelled blush swing jacket with intarsia flowers—not to mention a debut capsule starring Ernie, Bert, Oscar the Grouch, Cookie Monster, and other denizens ofSesame Street—the lineup aims to harness the prevailing magpie philosophy of dressing.That said, those seeking to work a less ironic tone will also find plenty of pieces that channel the season’s mood without striving for Insta-fabulousness. In that category: tailored coats in caramel, navy, or pale pink; pussycat and otherwise frilled blouses; thick rib-knits in jewel tones like emerald, sapphire, or fire opal; and suits or jackets in patterns riffing on traditional checks. Some of the bolder statements could run for seasons to come.
6 February 2019
Today is Sophie Mechaly’s birthday;joyeux anniversaireto her! Joy, as it happens, comes naturally to the Paul & Joe founder and to her clothes. No matter the season or theme, prints are reliably lively, color accents pop, and the looks come across as youthful and confident. Likewise with this lineup, which ebbed and flowed from pretty to irreverent while winking repeatedly to what all the buzzy brands are doing. Most impactful—some might feel too impactful—was the floral layering; it’s worth remembering that people can decide for themselves how strong to blitz the blooms.Less obvious in the photos is how the brand asserted its presence with co-opted logos applied to the backs of shirts and jackets. As one example, the recognizable red typography ofD.A.R.E.becameP.A.U.L., which was probably well-intentioned as far as the dictionary definition of the word but somewhat ambiguous considering the acronym, Drug Abuse Resistance Education. The brand also showed up as a heavy metal–style font and became the object of affection in a Milton Glaser–esqueI (Heart)logo.On the surface, this was a collection full of nonessential items: floaty scarf-print dresses, high-sheen suiting in orange and blue featuring motorcycle-style pants, bedroom slips and pajamas in electric purple jacquard, and maxi dresses that were coy in their sheerness. But for Mechaly, this was the point. Backstage, she mentioned how her mother, who passed away in April, had always encouraged boldness from her daughter—be it with the brand or in real life. Nicole Haggiag was the cofounder and designer of the circa-1980s label Le Garage, best known for its printed silk shirts. Thus, the silk shirts, pants, and pleated skirts in the collection were essential to Mechaly. “This was an homage; I was thinking of her when I did this collection—the colors, the energy, the risk-taking looks,” she said, understandably emotional. “My mother would always say to me, ‘Don’t be scared, my sweetheart; go ahead, provoke, do it!’ ” Today, she remained the daughter who drew strength from these words.
30 September 2018
While some of France’s (and the world’s) biggest icons inspired Paul & Joe’s new collection, there was something more personal going on underneath it all. Sophie Méchaly’s cool sorority of influencers this season included France Gall, Françoise Hardy, Farrah Fawcett, Isabelle Adjani, Isabelle Huppert, Lauren Hutton, and Anjelica Huston, not only for the ways they shaped her own closet back in the day, but also because they remind Méchaly of her mother who, like Gall, passed away earlier this year.“They all created this feeling of gaiety, optimism, and joy,” she explained during a showroom visit. “They had this aura, with a big smile and a mysterious side. I wanted to be like them.” Hutton’s style, for example, is immediately apparent in a safari-style shirt, crisp yet relaxed trousers, and an oversize trench. Méchaly’s first trip to New York, on the cusp of the ’80s, sparked a lifelong love of the city that resurfaced here in the form ofFun CityandI (heart) JoeT-shirts, as well as cutoffs, tennis sweaters, breezy little wrap dresses, and the kind of deep-V maxis that Cher might have favored. “It’s all about women with character who you want to be like,” the designer said. “We’re a little bit anti-fashion that way, because Paul & Joe is about family and emotional attachment.”The brand also kept it deliberately real-world for looks inspired by menswear, with slightly oversize shirts and a slip dress in silky tartan and lace, or checks run through with neon orange stripes.Mélachy’s mother, Nicole, a cofounder of the cult ’80s label Le Garage, worked alongside her at Paul & Joe right until the end. “She gave me a love of beautiful fabrics, beautiful cuts, know-how, and hard work,” the designer explained. “This collection is an homage to her.”
28 June 2018
Twenty-four hours before her show, Sophie Mechaly was having dinner at the Élysée Palace as one of many designer guests hosted by French president Emmanuel Macron and his wife, Brigitte, who made an acknowledgement of fashion’s contribution to France. Spotted in the front row of the sizable group portrait, the Paul & Joe founder was the only one heading back to fittings afterward. Backstage, front and center on the mood board, was a school photo of Mechaly from around 1975, no more than 8 years old. Dressed in an orange tunic and white knee socks, she is standing in front of everyone else. “I swear, I’m not one ofthosepeople!” she insisted. Regardless, it was touching to hear her connect the two photos. “I arrived in the courtyard and I was so emotional, with tears in my eyes,” she said. “I was like a girl arriving to this magical world, but it was real.”What she proposed for Fall was a composite of her actual memories styled into looks that recognized how fashions have changed. Cropped, wide wale corduroys were studded and shown with an oversize rose gold–treated shearling. A plaid workwear shirt was paired with a slinky, bicolor sequined skirt. A black jumpsuit patterned with flowers and swans came lightly quilted (comfy, sure, but flattering only for willowy bodies). Juxtaposing a sweater covered in childlike drawings with modified mom jeans was a funny way to attract twentysomethings; perhaps they’d prefer the one featuring a doll-like girl with her cat—a depiction of Mechaly—worn with a metallic skirt. Either way, these revised retro looks were at once charming and impertinent—a circa-’70s rite of passage sleekly updated such that uniforms gave way to maxi dresses.With music from the recently deceased French pop icon France Gall closing the show, Mechaly wasn’t just sharing a vision that was personal; it was also very much Parisian. You could easily imagine this version of Paul & Joe being positively received far beyond the 15th Arrondissement where Mechaly grew up. That, too, is a designer’s dream come true.
6 March 2018
As these photos suggest, Sophie Mechaly applied a sepia-toned filter to her two latest collections, which borrowed from late-’70s references, personal memories, and her late-adopter love ofStranger Things. Consequently, mostly everything new came out of something actually old. For men, she seemed especially keen about the check suits with elongated proportions; in her mind, these painted an intoxicating view of masculinity that has been somewhat lacking. And to prove the cut was flattering in reality, a staff member of lean enough build and average height tried one on; true to her word (and disproving our vision), he didn’t end up resembling an extra in a flashback scene ofThis Is Us.Still, this was a collection heavily steeped in novelty and retro styling, from a silk shirt boasting swans among a botanical backdrop, meant to be worn more unbuttoned than usual, to a knit cardigan in powder blue and pink with burgundy. Jeans liberally covered in patchwork, a classic peacoat switched up with an intarsia collar, and an evening suit in rosy velvet approximated some of the eccentricity that remains exciting at Gucci—obviously without requiring the same investment. And this same charm offensive carried over to the women’s Pre-Fall offering, which included childlike imagery across sweaters, chasuble tunics, fuller skirts, and flowers from the attic. Mechaly is probably right to bet that there’s enough ordinary stuff elsewhere, and that Paul & Joe can deliver better fit and fabric than any vintage haul. Anyone buying in risks tiring of this direction as soon as a season, but hold on to the pieces and be patient; they’ll come around again.
20 January 2018
As these photos suggest, Sophie Mechaly applied a sepia-toned filter to her two latest collections, which borrowed from late-’70s references, personal memories, and her late-adopter love ofStranger Things. Consequently, mostly everything new came out of something actually old. For men, she seemed especially keen about the check suits with elongated proportions; in her mind, these painted an intoxicating view of masculinity that has been somewhat lacking. And to prove the cut was flattering in reality, a staff member of lean enough build and average height tried one on; true to her word (and disproving our vision), he didn’t end up resembling an extra in a flashback scene ofThis Is Us.Still, this was a collection heavily steeped in novelty and retro styling, from a silk shirt boasting swans among a botanical backdrop, meant to be worn more unbuttoned than usual, to a knit cardigan in powder blue and pink with burgundy. Jeans liberally covered in patchwork, a classic peacoat switched up with an intarsia collar, and an evening suit in rosy velvet approximated some of the eccentricity that remains exciting at Gucci—obviously without requiring the same investment. And this same charm offensive carried over to the women’s Pre-Fall offering, which included childlike imagery across sweaters, chasuble tunics, fuller skirts, and flowers from the attic. Mechaly is probably right to bet that there’s enough ordinary stuff elsewhere, and that Paul & Joe can deliver better fit and fabric than any vintage haul. Anyone buying in risks tiring of this direction as soon as a season, but hold on to the pieces and be patient; they’ll come around again.
20 January 2018
Paul & Joe’s Spring lineup began with a white dress with a modest, almost minimalist silhouette and ended with a dress covered in an upholstery-inspired floral print fluttering with ruffles. In between unfolded a fresh collection that consistently alternated between girlie and grown-up. Sophie Mechaly said she was eager to explore a narrative of lost innocence with touches ofWild at HeartandThe Virgin Suicides. While those films aren’t exactly cheery, the brand’s animated overseer framed her vision as cathartic; sure, the good girl falls for the bad boy and impulsively gets hitched in Las Vegas, but she discovers her personal style in the process! And from this premise, Mechaly offered up retail-friendly daywear that spanned from flounced shorts, cropped knits, and hip-hugging jeans that splayed at the ankle to crisp, mid-length skirts, properly tailored trousers in summery hues, and a slip dress or two.If this sounds a tad basic, Mechaly also layered in an array of specialty fabrications that gave the collection its punch: overalls in blue broderie anglaise, pajama pieces that took cues from vintage wallpaper, and some rather pretty pastel brocades (from one of the last manufacturers of its kind), which she showed as nonchalant suiting rather than anything too ladylike. The fact that every look paired well with the slipper-like Mary Janes in velvet and upholstery fabrics spoke to the coherence of the collection in look as well as in spirit.The hand-painted motorcycle jacket towards the end was the most memorable piece, though there were also printed shirts and an intarsia knit tee that adapted vintage Las Vegas signage toWelcome to Fabulous Paul & Joe. It was an uncanny, obviously unforeseen tribute that harkened back to less distressing times.To close more positively then, Mechaly revealed that the off-shoulder, boudoir-style white lace dress was actually modeled after her wedding dress as a very young bride, and she worked on the draping herself. Perhaps she was the collection’s protagonist all along. The collection held up well.
4 October 2017
Paul & Joe’s Sophie Mechaly couldn’t be more excited to draw your attention to a music artist from Glasgow, Scotland, named Davide-Hyrum Wilde, who appears throughout the combined men’s and Resort lookbook. She didn’t say as much, but he could pass for Hari Nef’s brother. Discovered via Instagram, he embodied the collection as Mechaly saw it—that the “girls’ looks are a little boyish; the boys’ looks a little girlish” and most of all, that an idiosyncratic musical spirit percolates throughout. She kept him in the men’s looks, which differed from when Acne Studios put Bobby Gillespie in womenswear for its 2017 Pre-Collection. But the takeaway is that Paul & Joe is aiming for open-minded. As usual, the two collections played strongly off each other, sharing the ’70s boot-cut pants, Liberty prints, and country-western detailing. Both could have been spared the allover tiger print—those wildcats were packed in so densely they seemed ready to pounce off shirts and skirts. And this particular treatment of ’70s-inspired floral embroideries came off cuter as a women’s white jean than a men’s denim shirt. But that’s not to say the flashier men’s looks lacked potential. Mechaly said she wanted to channel Liberace and Elvis—Vegas by way of the Rive Gauche—with the dressed-up looks. Can you envision, as she has, Harry Styles wearing one of the brocade tuxedos? Come to think of it, yes.Among the Resort lineup, any of the shirting iterations—see the classic blue striped asymmetric flounced skirt—and a lace-like powder blue trench were relatable. Mechaly defended the vintage garishness elsewhere by saying it’s all about “assuming your style,” which seems kind of like wearing your taste in music—good or bad.
28 June 2017
Paul & Joe’s Sophie Mechaly couldn’t be more excited to draw your attention to a music artist from Glasgow, Scotland, named Davide-Hyrum Wilde, who appears throughout the combined men’s and Resort lookbook. She didn’t say as much, but he could pass for Hari Nef’s brother. Discovered via Instagram, he embodied the collection as Mechaly saw it—that the “girls’ looks are a little boyish; the boys’ looks a little girlish” and most of all, that an idiosyncratic musical spirit percolates throughout. She kept him in the men’s looks, which differed from when Acne Studios put Bobby Gillespie in womenswear for its 2017 Pre-Collection. But the takeaway is that Paul & Joe is aiming for open-minded. As usual, the two collections played strongly off each other, sharing the ’70s boot-cut pants, Liberty prints, and country-western detailing. Both could have been spared the allover tiger print—those wildcats were packed in so densely they seemed ready to pounce off shirts and skirts. And this particular treatment of ’70s-inspired floral embroideries came off cuter as a women’s white jean than a men’s denim shirt. But that’s not to say the flashier men’s looks lacked potential. Mechaly said she wanted to channel Liberace and Elvis—Vegas by way of the Rive Gauche—with the dressed-up looks. Can you envision, as she has, Harry Styles wearing one of the brocade tuxedos? Come to think of it, yes.Among the Resort lineup, any of the shirting iterations—see the classic blue striped asymmetric flounced skirt—and a lace-like powder blue trench were relatable. Mechaly defended the vintage garishness elsewhere by saying it’s all about “assuming your style,” which seems kind of like wearing your taste in music—good or bad.
28 June 2017
Before the show,Paul & Joe’s Sophie Mechaly hinted that there would be a noticeable difference in the clothes, from the “hyper-luxury” fabrics to strong colors and silhouettes that would register predominantly “city.” Although it’s not uncommon for her to rethink Paul & Joe’s positioning from one season to the next, she was right about the noticeable part. The oversize corduroy pajama-workwear look in green was unlike anything she has proposed in the recent past, likewise the knee-length velvet hoodie giving way to a maxi floral-print skirt a few passages on. The anthracite cross-body velvet jumpsuit shown with velvet sneakers felt relevant for its easy allure, while the teensiest bit of side boob in another jumpsuit, this time in draped silver lamé, felt like a big deal for the brand.Mechaly explained how she sought to elevate both the product and the perception of Paul & Joe at a time when quality and standards have fallen. The pearls tacked to jeans and laced detailing on shirts were surface details that proved she was on the right track, and there were likely others out of sight.The thornier issue: Many of the collection’s strongest looks felt, well, familiar. One theory is that Paul & Joe is simply testing out the widest swath of trends; another is that it doesn’t trust its own ideas. Thankfully for Mechaly, there will be people who come into the stores none the wiser; they may check out the season’s cheeky, Pop Arttreatment of prints—hot lips!—before settling on velvet daywear and mousseline dresses. The likely outcome from this shift is that the customers who might have outgrown Paul & Joe return anew.Mechaly, as usual, was super enthuasiastic, not least because her show held the final slot of the official calendar within a setting more gilded than usual. Save the best for last? “I hope so!” she mused. “I love that phrase.” If nothing more, this might have been a brand best.
7 March 2017
If the Paul & Joe men’s and Pre-Fall offerings align more often than not, they also express individual personalities. This season, Sophie Mechaly has created a re-edition of unisex shirts that her parents had created in the early ’80s under their brand, Le Garage. While most people won’t notice the slightly dropped shoulder, they’ll certainly notice some of the stronger print options, which include lions’ faces peering out from bushes, and black-and-white roses that have been re-colored as an arty touch.Both collections featured an expanded outerwear range, including novelty print or oversize down jackets, plus distinctive dressier styles (Lurex windowpane check for him; embroidered flowers for her). The faux options in the women’s range were particularly strong, from the rust-color fur with a purple undercoat to the quilted shearling. Mechaly pointed out how, within an ’80s register, the silhouette leans longer, even though the men’s pants remained slim while the women’s expressed generous slouch. A chunky, multihued knit sweater bridged the collections as a statement piece with timeless appeal. For a stronger statement, the women’s pantsuit and dress shirt accented with embroidered branches and buds felt au courant. Guys, meanwhile, might opt for the smiley feline sweatshirt, whether or not they believe it shares DNA with the Chapman Brothers’s version designed for Louis Vuitton a few years back. Beyond buying piecemeal, Paul & Joe clients should consider taking a cue from the youthful styling; it’s a decent reflection of trends percolating through fashion today.
27 January 2017
If the Paul & Joe men’s and Pre-Fall offerings align more often than not, they also express individual personalities. This season, Sophie Mechaly has created a re-edition of unisex shirts that her parents had created in the early ’80s under their brand, Le Garage. While most people won’t notice the slightly dropped shoulder, they’ll certainly notice some of the stronger print options, which include lions’ faces peering out from bushes, and black-and-white roses that have been re-colored as an arty touch.Both collections featured an expanded outerwear range, including novelty print or oversize down jackets, plus distinctive dressier styles (Lurex windowpane check for him; embroidered flowers for her). The faux options in the women’s range were particularly strong, from the rust-color fur with a purple undercoat to the quilted shearling. Mechaly pointed out how, within an ’80s register, the silhouette leans longer, even though the men’s pants remained slim while the women’s expressed generous slouch. A chunky, multihued knit sweater bridged the collections as a statement piece with timeless appeal. For a stronger statement, the women’s pantsuit and dress shirt accented with embroidered branches and buds felt au courant. Guys, meanwhile, might opt for the smiley feline sweatshirt, whether or not they believe it shares DNA with the Chapman Brothers’s version designed for Louis Vuitton a few years back. Beyond buying piecemeal, Paul & Joe clients should consider taking a cue from the youthful styling; it’s a decent reflection of trends percolating through fashion today.
27 January 2017
A few days before Fashion Week, the city of Paris (la Mairie de Paris) debuted a promotional film directed by Jalil Lespert highlighting the city’s countless cultural attributes in hopes of boosting the suffering tourism industry. In the film, there are glimpses of recent Chanel and Balenciaga runway shows with their seductive aura of exclusivity. Today,Paul & Joe’s Sophie Mechaly, in contrast, repeated her Seine-sidedéfilé, following her men’s/Resort experiment, adamant that non-invitees and passersby stick around to watch. Whether the motivation was purely altruistic or partly also good branding, it was a logistical feat, as this new venue’s “backstage” was located across a main artery and down a side street. Forget front row; the better vantage point might have been the busy intersection.And that, ultimately, was the most persuasive takeaway to staging a Paul & Joe show out in the open: The clothes were in their natural habitat. Unsurprisingly, the collection also took cues from the street. Mechaly noted that baggy pants, modified sportswear, and oversize layered silhouettes have become the essentials of a cool girl’s wardrobe. But much the same way that “skater girls” translates asskateuses, Mechaly’s re-embroidered T-shirts, low-slung pants, faded floral patchwork, colorfully embellished denim, sequin flower coats, platform sneakers, and jeweled sandals could be labeled, as she suggested, “street couture.” More accurately, the collection landed somewhere between both words, and closer to street. However, the checkered, strategically frayed denim worn with a wraparound white blouse balanced Paul & Joe’s preppy codes with this updated mood. And all of it—whether originally conceived by the brand or an apparent wink to some of the haute houses—projected even cooler with Paris as backdrop.
4 October 2016
The Paul & Joe show took place on a barge-cum-nightclub, where the models also disembarked to the adjacent embankment, expanding the runway into public space on a Friday at dusk. It was a friendly gesture—somewhat akin to Givenchy’s Spring ’16 dockside defilé—that wouldn’t have been possible three weeks ago when this stretch of the city was submerged under a swollen Seine. But last night, Sophie Mechaly, ever upbeat, said she believed all would return to normal in time to present a refreshed vision. The men’s and Resort collections were near mirrors of each other, with the opening looks showcasing a grayscale floral print inspired by Robert Mapplethorpe (loosely, no sexual charge) that suggested a more relevant look than seasons past. And indeed, as the show continued, a grouping of crisp khakis, patchwork denim, and deconstructed pinstripe pieces confirmed as much.Mechaly, who hinted at working with a new creative sidekick, said she realized it was time to move past the ’70s spirit, leaving the cutesy shtick behind for something sharper but equally youthful. Guys dressed in sweater-to-sneaker pink, and girls wearing toned down lingerie tops with slouchy trousers picked up on trends set elsewhere without feeling entirely déjà-vu. A statement more zeitgeist than fashion was made with a T-shirt that appeared to read “Available” underneath a light wool blazer; later in the lineup, a sweatshirt boasted “Unavailable” in a banner, as if a point of pride. Either or both will sell well in the age of Tinder. But catching up is not the same as forging ahead, so it will be interesting to watch how Paul & Joe progresses from this moment. For now, Mechaly’s franglais description of “une bonne vibe” will do.
25 June 2016
The Paul & Joe show took place on a barge-cum-nightclub, where the models also disembarked to the adjacent embankment, expanding the runway into public space on a Friday at dusk. It was a friendly gesture—somewhat akin to Givenchy’s Spring ’16 dockside defilé—that wouldn’t have been possible three weeks ago when this stretch of the city was submerged under a swollen Seine. But last night, Sophie Mechaly, ever upbeat, said she believed all would return to normal in time to present a refreshed vision. The men’s and Resort collections were near mirrors of each other, with the opening looks showcasing a grayscale floral print inspired by Robert Mapplethorpe (loosely, no sexual charge) that suggested a more relevant look than seasons past. And indeed, as the show continued, a grouping of crisp khakis, patchwork denim, and deconstructed pinstripe pieces confirmed as much.Mechaly, who hinted at working with a new creative sidekick, said she realized it was time to move past the ’70s spirit, leaving the cutesy shtick behind for something sharper but equally youthful. Guys dressed in sweater-to-sneaker pink, and girls wearing toned down lingerie tops with slouchy trousers picked up on trends set elsewhere without feeling entirely déjà-vu. A statement more zeitgeist than fashion was made with a T-shirt that appeared to read “Available” underneath a light wool blazer; later in the lineup, a sweatshirt boasted “Unavailable” in a banner, as if a point of pride. Either or both will sell well in the age of Tinder. But catching up is not the same as forging ahead, so it will be interesting to watch how Paul & Joe progresses from this moment. For now, Mechaly’s franglais description of “une bonne vibe” will do.
25 June 2016
Call it the Snapchat collection, chat, of course, meaning “cat” in French. Between the quirky feline prints, the brightly striped suits, the riot of ruffles, and the sparkly soled shoes, this latest proposal fromPaul & Joefelt expressly created for those who want their looks to generate maximum likes.Backstage, Sophie Mechaly framed this lively undertaking as “nouvelle bourgeoise,” by which she meant Parisian society gals both respecting and rebelling against dress codes from high school to adulthood. While some were demure, wearing brocade tunics, double-breasted coats, or slim jackets with city shorts or flounced shirtdresses, others seemed feisty, donning mannish suits coursing with silver and jeans patched with embroidered doodles. All were accessorized with black bejeweled cravats, which occasionally proved an unnecessary flourish.People who return to Paul & Joe season after season will note how each collection proves largely unrelated to the ones before. This matters only to the extent that they should give careful thought before buying a statement piece such as the cat-patterned caban, or stick to a seasonless frilled sweater. The floral and faux-fur embellished footwear, whether the Mary Janes or the loafers, offers an instant wardrobe boost, especially when worn with ankle socks. Don’t forget to take a shoefie.
8 March 2016
For her Pre-Fall collection,Paul & Joe’s Sophie Mechaly wanted to capture the spirit of La Folie Douce, a party venue in the French ski destination of Val d’Isère. It’s a pointed reference that won’t mean a ton to people who have never been. But the overlap of streamlined sport and relaxed soirée does merge well with the Paul & Joe m.o. The offering represents a checklist of winter getaway pieces, from a shaggy Mongolian lamb blouson to an après-ski wool jumpsuit that had a kitschy throwback appeal when worn with a vintage sport sweater. The ’70s sensibility carried over to the silk suiting in oversize, graphic prints, which Mechaly referred to as “reinvented pajamas,” as well as the patchwork trapeze dress shown with a bow blouse. If the collection risked idealizing its inspiration—these were clothes for passive, not active, vacationers—it also offered a solid non-thematic selection, including some early season pastel coats and office-appropriate shirtdresses.Here’s where we nitpick: Knitwear felt underrepresented. What’s more, while we can’t speak from experience as to whether the floppy-bow stilettos in suede and racer-stripe boots would be go-to footwear for Val d’Isère, the absence of something flatter and cozier seemed like a missed opportunity. But the gray flannel pants and topcoat illustrated why a snowy nature scene might prove a lively icebreaker—at work or away.
2 February 2016
The risk in overlaying a camping Western theme onto suiting is that you end up in a nowhere zone between boy and man. From the latestPaul & Joecollection, a number of lively novelty highlights emerged: a blouson ornamented with beaded bugs, a cozy blanket coat, and a sweater embroidered with colorful feathers. But the outdoorsy-formal-folkloric mash-up was also a head-scratcher, with velvet ribbon ties and flared pants a jarring juxtaposition against lumberjack outer layers and moccasin sneakers. Here’s hoping that by the time these clothes hit stores, the deliveries will be staggered enough that customers can make sense of the different directions. As it is, this season’s statement read like a troop without a compass.A fashion-inclined devil’s advocate might posit that Sophie Mechaly simply ended up overstimulated by today’s increased latitude in men’s style. Perhaps the androgynous muse and brawny hipster excited her in equal measure, and she figured her nod to James West could pass for contemporary flair. But somewhere along the way she got lost, which happens from time to time. So let’s just return to Paris and not look back. Everything will be fine—scout’s honor.
24 January 2016
Paul & Joesent out a metallic pink embossed postcard as the invitation for its Spring show, but it may as well have been fronted with a photo of Miami. That’s where founderSophie Mechalymined references for a collection that was fun, frisky, and swathed in palm fronds. More precisely, she said she drew fromScarfaceandMagnum,P.I.to arrive at key looks such as the halter maxi dresses and slim, pastel pantsuits.Just as there will always be flora and fauna prints in a Paul & Joe collection, so too will there be modified denim, sweet flourishes (broderie anglaises, ruffle accents), and a boyish wink (shirts or shoes); the difference each season comes from how Mechaly doses them. The Miami throwback allowed for a new twist: retro jogging attire remixed as silk blousons and shorts or hybridized as a studded tuxedo pant. The theme also meant she could go gutsy on glitz, from the silver leather trousers to the sequined baby doll and the metallic boots. Just in case those pieces didn’t sufficiently incite the spirits, she added a vintage-style T-shirt with the line “Go for it.” Mechaly was already wearing it, like a souvenir from the show.
6 October 2015
More and more, it seems that the Paul & Joe girl is a flower girl at heart, even when she entertains a season here or there as a minimalist or a mod. Partly this is owing to founder Sophie Mechaly's eternal love for the late '60s/early '70s—perhaps her personal golden age. Mechaly shot the Resort collection outside of London, where a bucolic riverside backdrop proved a perfect fit for the sweet broderie anglaise blouses, lace T-shirts, and hazy blue slipdresses. All the denim—including a floor-sweeping skirt, jumpsuit, and baggy jeans—furthered the message. Sailor pants, striped knits, and a fitted coatdress, meanwhile, channeled the same era yet from the French side.Once you've accounted for the clogs, snap-front pencil skirts, and trapeze safari jacket, you arrive at a solid representation of updated throwbacks. The green-and-orange print by Dahlov Ipcar underscores the idea most of all; the 97-year-old American painter-illustrator apparently gave her blessing after Mechaly fell head over heels for the artist's childish-cum-bohemian approach to form and color. And maybe this explains the in-house print featuring a hippie head set within simplified clouds. Mechaly said she thought the visual idiom captured her own free spirit. Or was it Paul & Joe's? Moot point, really.
29 June 2015
As more and more high fashion labels explore gender ambiguous menswear, Sophie Mechaly hasn't fully followed suit—in fact, she began her seasonal spiel by underscoring an emphasis on tailoring. But the collarless broderie anglaise "chemisette" shirt and camo butterfly-printed shorts that made up the first look felt like the toe-dip that precedes full immersion.For the time being, Mechaly knows her core customer enough to lean heavily toward slim suits. While she stopped shy of tight, she ensured that every silhouette, whether in Prince of Wales or lightweight toile, remained narrow. Even when shorts replaced pants, they were lean enough to travel from the boardwalk to the boardroom. Beyond the tailored tops and bottoms, the standout looks were those that were most free-spirited: breezy nightshirts, sides vented so that guys could achieve a hand-in-pocket attitude; a raglan-sleeved varsity blouson; and pieces in "faux denim" that were actually supersoft blue cotton toile. Combined, the bold vegetal pattern, the is-it-an-eye-or-animal-spot, and the "Fauvist" (read: vaguely Braque birds) met all level of motif preference, from artful to OTT. And while Paul & Joe will never be printless, the collection came across as more judicious, less novelty than in the past.Not shown: the Looney Tunes capsule collection featuring a selection of characters on Oxford shirts or Tweety surrounded by Matisse-esque cutouts. Mechaly seemed particularly excited about this—even though it's tough to imagine grown men feeling likewise. Either way, the cartoon canary might prove a helpful gauge.
25 June 2015
Chances are, you already have clothes in your wardrobe that resemble what appeared on the Paul & Joe runway today: some combination of Peter Pan-collar shirt, striped sweater, boyfriend jeans, velvet pants, LBD. Familiar as they might have been, those pieces didn't create a sense of déjà vu here. Sophie Mechaly mentioned that she now has a Brit among her creative team, whom she credited for a certain Anglo influence—all those blurry tartan silks and dressy Docs—that may not have been instinctive to the Parisian designer. Evidently, they agreed on ruffles as a running theme; nary a garment got through without one. With no purpose other than to reaffirm Paul & Joe's ingenue-with-edge attitude, they appeared on pants pockets, along shirt plackets, around hemlines and necklines, and encircling cuffs. Even when they seemed arbitrary, they served as a crisp finishing touch.Elsewhere, striped sequin tank dresses and collars of Swiss lace reinforced Mechaly's pursuit of special-occasion detailing. While the collection included pieces for women who would rather not reveal their age (a plaid double-breasted coat, velvet evening suiting), it skewed particularly young. On the plus side, Mechaly would be giving these girls a fresh alternative to played-out athleisure.
10 March 2015
There's some comfort in knowing that Paul & Joe does not aim for avant-garde. No matter what flights of fancy pique Sophie Mechaly's interest—and for Fall there were plenty—she will always prioritize user-friendly fashion. In what seemed like a single breath, she alluded to Mongolian nomadic peoples, cartoon strips, folklore, the Navajo, and the American abstract painter Karl Benjamin as this season's springboards. Do you detect all of them in a single look? Unlikely. But if you follow her sartorial crumbs, you might make better sense of a knit cape emblazoned with lighting bolts, or a gray cardigan enlivened with bands of Cubist embroidery. Conversely, the checked blousons, intarsia cashmeres, and relaxed wool pants were free of any association—aside from reflecting the default weekend wardrobe of certain young, upwardly mobile Parisians.While Mechaly selected the owl, mammoth, and lynx as her spotlight animals, and flying cats for her printed shirts (both prerequisite elements in any Paul & Joe collection), these weren't nearly as compelling as the sheepskin coats, each version properly reversible. But she seemed most excited to shine a spotlight on her new extreme outerwear, in collaboration with the Canadian brand Mackage. "I'd been wanting to do goose-down jackets for a while. These combine their savoir faire and my style," she said, showing off the novelty lining and streamlined silhouettes. Mechaly is right to sense a market for these; she knows the wearability factor is high.
25 January 2015
The Paul & Joe Pre-Fall collection arose from the gardens of Marrakech, said designer Sophie Mechaly, who rooted her palette in sand and dusty rose while loosely expressing an evocative atmosphere with stylized palm motifs, expanded embroidery applications, and languid silhouettes. To maximize her first delivery of the collection in early summer, she proposed a high proportion of trans-seasonal blouses, jumpsuits, and shirtdresses well suited for layering under tailored blazers and Peter Pan-collar coats once the weather cools. But aside from a few digressions (enlarged animal graphics and looks that skewed too vintage), the offering transitioned smoothly from oasis-inspired to Paris preppy. Here, white collars offered a crisp counterpoint to short black tunics or fuller schoolteacher skirts. A gold-trimmed floral brocade provided the most overt overlap between the two poles and was applied liberally beyond special-occasion pieces to accessories. The most wearable through-line proved a camel grouping; a reversible sheepskin jacket was the undeniable hero piece. Twice Mechaly teased at the upcoming collaboration between Paul & Joe and the Canadian outerwear expert Mackage. The jackets—one parka, one bomber—were shown with bare bronzed legs (and not just a flash of ankle). If this, too, was inspired by Marrakech, it will make for wishful thinking come November.
25 January 2015
Today happened to be Sophie Mechaly's birthday, and by the time her Spring lineup for Paul & Joe arrives in stores, the brand will be celebrating its 20th year. This collection, she said, drew largely from family vacations in Saint-Tropez and her mother's free-spirited '70s style. Altogether, the potential for sentimentality was high, but Mechaly didn't go that route.She did, however, go bold on prints and pep, putting Lindsey Wixson in a printed micro-paisley suit and floral foulard to set the tone. Peter Pan collars, laced hot pants, fringed bags, suede flares, and floppy hats strongly signaled a hippie throwback, even if the maxi dresses (including one assembled from 14 feet of mousseline) somehow transcended the archetype. A secondary theme motivated by Mexico accounted for the fringed jackets and blanket stripes. The aesthetic was specific, but it bodes well that one Parisian It girl was overheard gushing, "Magnifique!" to another postshow. In any case, Mechaly guaranteed broader interest with airy white pieces covered in openwork scales (the designer herself was sporting a shirt version) and organza blouses alternating bands of embroidery with guipure lace. The long and snug snap-front jean skirt was an instant Paul & Joe classic. As with all seasons, Mechaly crowned an animal muse, and her stylized barn owl appeared on short overalls and stacked sandal heels alike. In French, this species is known as achouette(versus the long-eared owl, ahibou). "Chouette" also gets used to describe something that's great. Self-fulfilling? Perhaps. Or maybe just a birthday wish.
30 September 2014
Sophie Albou-Mechaly used Le Comptoir Général, an incomparable Paris gathering spot best known for its collection of African bric-a-brac, as the backdrop for her Paul & Joe men's collection. Situating her muse in this throwback setting allowed her to conjure up a story about a young fifties-era jazz dude who picks up style cues at each point along his international tour—namely, Cuba, Hawaii, and South Africa. This gave her an excuse to play with an eclectic mix of motifs—a large intarsia pineapple, micro-printed cherries, illustrated monkeys, painterly palm trees—even if the narrative seemed forced (or maybe just far-fetched). In any case, Albou-Mechaly was able to express attitude in the flattering seersucker jackets paired with slim Bermuda shorts and rolled-cuff colored jeans punched up further by a printed windbreaker or cartoony-covered blouson. While it's hard to fault a collection oozing so much joie de vivre, the clichés struck a pitch that may be lost on some men. It is telling that one doodle print featured such thought bubbles as, "I need my croissant every day" and "Parisian cat"—in English. Presumably, Albou-Mechaly is feeding her rapidly growing foreign market at the expense of the veritable cool cats who'd never advertise as much. Thankfully, a denim-style varsity jacket addressed the need for pared-back key pieces, and the half-half T-shirts—percale cotton on one side, airy cotton voile on the other—offered novelty in a lower register. They might catch on.
24 June 2014
Sophie Albou-Mechaly settled on what she would offer this season by first determining what she would leave out. And in her mind, women don't really want to wear boxy, moody, conceptual clothes—at least, not the women who typically wear Paul & Joe. This still left her with a vast field of femininity to explore, and for the most part, she settled on fifties-era Mediterranean vacation destinations Capri and Cap Ferrat for inspiration. This is ideal territory for the line—it means more time on print development (a Matisse-like algae motif, botanicals rendered in Ben-Day dots à la Lichtenstein) and fabrics (guipure and Calais lace, summery tweeds) and less on working through challenging shapes. Oh, there were all sorts of shapes, though—from a billowing maxi dress in silk mousseline to a roomy woven blue blouson to mini shorts stitched with tiny dancers. Albou-Mechaly also drew attention to the simplest shape of all: a square foulard. Mantero, the renowned silk manufacturer in Como, will now be making scarves for Paul & Joe. And already, she was showing them tied around the neck, Grace Kelly-style, to further play up the retro-chic attitude. The joie de vivre of this collection proved easy on the eyes, even if it felt slightly summery for a winter delivery to stores. Albou-Mechaly responded by singling out a scarf-print blazer or a bubblegum pink sweatshirt covered with cartoony embroidered patches as pieces that offer instant gratification—and she's right, provided you're the type of gal who would wear a winking strawberry.
24 June 2014
Preshow, the Paul & Joe space was dimmed to the point that ushers came equipped with handheld LED lanterns, and the air hung with a woodsy scent. Sophie Albou-Mechaly had been thinking about the legendary seventeenth-century fairy-tale author Charles Perrault and his lesser-known fable,Peau d'Âne(The Magic Donkey). Jewel-emitting donkey skin was not an option; but then Albou-Mechaly has always applied heavy creative license to her references. Here, winterized wool shorts, slouchy roll-neck sweaters, and smart cabans were the antithesis of princess attire. And in fact, the borrowed boy pieces—generously proportioned trousers and dressy bombers—far outnumbered the obviously girly ones, such as a gathered floral-camo dress. But there's no need to reduce the narrative along these lines when the designer's use of windowpane-checked mohair was simultaneously both and neither.Albou-Mechaly unified the collection with a modernist motif à la Serge Poliakoff (like Guy Laroche's Marcel Marongiu, she was inspired by the recent retrospective at the Musée d'Art Moderne) and isolated the painter's crisp coral and calming blue hues for her shearling coats and knit underlayers. The artisanal coolness that she may have been seeking was best captured by the reversible shearling Perfecto paired with guipure lace knee-length shorts. Interestingly, the look revealed no reference in particular. It was a quasi-existential moment for Paul & Joe—one that deserves to be explored further.
3 March 2014
Paul & Joe's Sophie Albou-Mechaly showed ten distinct coat styles for Pre-Fall—and that didn't include the double-face cashmere wraps and capes that would make for desirable early-season outerwear. Since this delivery happens in three stages beginning in May, the collection moves through as many stories. The first: predominantly graphic black and limestone, whether expressed as a poppy print with metallic shading or oversize polka dots. The next introduced complementary tones of burgundy and dusty blue, as well as a feather print that Albou-Mechaly interpreted from a silk scarf belonging to her mother.The third placed more emphasis on soigné slouch—oversize leather culottes, elongated knits—and it is here that we found the aforementioned coats. One standout in navy got textural interest from black shearling paneled like a gilet; another cropped style in sheepskin and leather was cleverly reversible. The hooded duffel in punchy rose might be a season too late for fashion's early adopters. Or it may just prolong a trend that is not ready to retire. Either way, let's not forget the deceivingly well-crafted sweatshirt covered in a pattern of cutout half-moons filled in from beneath with patches of ivory wool. It was the collection's sleeper hit.
16 January 2014
The challenge for a designer creating a collection motivated by the cozy clothes worn après-ski is that slim-fit tuxedos look inherently out of place. But Paul & Joe's Sophie Albou-Mechaly has constructed a milieu where these two extremes are unified by a spectrum of plush Italian knits, tweedy trousers, and one multicolored beagle that makes quite the impression on an intarsia sweater.In particular, the designer gravitated toward double-face duffel coats and reversible blousons in strong windowpane patterns of burgundy and blue marine or subtler chevrons, stylized Fair Isle sweaters, and a week's worth of shawl-collar cardigans and oversize jacquard scarves. Her printed shirt of the season —it's not Paul & Joe without one—placed cutesy bunnies and birds in a formal setting appropriated from old Delft porcelain. The effect was only one level less incongruous than Mario and Luigi at the Louvre, but we'll let that one slide. Really, Albou-Mechaly seems proudest of her made-in-France suiting. She accommodated her cuts for both CrossFit and cigarette physiques, and introduced a dark brick red-brown as a black alternative. The suits were sharp enough to help the brand convey a well-rounded offering, and can be further enhanced with neckwear from Maison F as part of a special collaboration with designer François Régis Laporte. But they've got nothing on the beagle, shaded with thirty-five different hues and afforded such irresistible puppy-dog eyes.
15 January 2014
Lindsey Wixson walked twice in the Paul & Joe show today. First, she appeared in an oversize white sweatshirt emblazoned in patchwork that spelled "Paul" on the front and "Joe" on the back. Nearly a dozen runway exits later, she returned in a belted black plunging-neckline dress that hovered above the floor. One girl, two remarkably different looks. But Sophie Albou-Mechaly will tell you that they represent an identical "no-stress elegance." The collection was titled A Summer in Paris, which is telling to the extent that those who don't participate in the massive August exodus enjoy the city at its most relaxed. In addition to rehashing the label's foundation pieces—boy's shirt, T-shirt blouse, chambray anything—Albou-Mechaly established leisure-class allure with airy embroidered silk maxi dresses and coats that were treated like dressing gowns. The designer typically has a weakness for presenting seemingly incongruous prints. This time she gathered together Liberty florals, tie motifs, deck-chair stripes, micro checks, and photoprint flowers, and they managed to interact sans conflict. Most notably, she moved away from a trend-based agenda—well, minus the branded sweatshirt. The attitude was in the styling (those coats appeared over swimsuits, and bandannas doubled as belts).You'd think on the penultimate day of Paris fashion week that the models would look exhausted. Even if Albou-Mechaly encouraged them to put on their best happy face, it is a testament to the ease of this collection that they seemed so content. There was a genuine spring in their step.
30 September 2013
Some of the prints and fabrics in Paul & Joe's women's collection will look familiar to those who saw the label's men's show. The crossover, said designer Sophie Albou-Mechaly, is a given; why design two completely unrelated collections?Naturally, materials like tricolor tweed and a botanical print have been rejigged as womenswear—an off-the-shoulder halter dress, short shorts, or a tailored blazer (there's still the boy's version for people who prefer oversized). Albou-Mechaly also showed skirts: The designer said that midi length is new for her, as is the shorter, stiffer, ruffled bonded style. There were a few new, diametrically opposed prints, too—a rough sketch of horses and a Frank Stella-esque geometric pattern. They added some arty interest to the core French preppy fare. And Albou-Mechaly didn't stop there; riffing on the men's nautical theme, she plunged underwater with maxi dresses, heather gray T-shirts, and denim shirts emblazoned with cartoonish seashells sprouting dominatrix legs (in French, acoqueis a shell and acoquetteis a flirt). Translation: double entendre design.Albou-Mechaly was keen to share the news about her diffusion line, Paul & Joe Sister: It has Disney's blessing to use archived sketches of Bambi and Thumper on tees and sweats. Another label already enlisted Bambi for Fall, but Albou-Mechaly is a pro when it comes to trend-spotting.
29 June 2013
These days, people don't just set sail from Brittany to Madagascar. But it was exactly this type of fantasy voyage—specifically, the visuals that define such different locales—that was the launch point for Sophie Albou-Mechaly when conceiving this Paul & Joe men's collection. She headed out to sea with crewnecks and cardigans that took cues from old handwoven fishermen's knits, plus a sturdy navy Mackintosh, chemisettes (short-sleeve shirts), and tees covered in anchor, sea horse, and fish motifs. The tie print, like all the others, was designed in-house; gold stars to the person who created the cat sporting a sailor hat and smoking a pipe.When the collection reached land, it moved into flora-fauna blousons, shirts covered in laid-back lions, and a classic khaki overcoat. Albou-Mechaly covered slip-on sneakers, espadrilles, backpacks, and baseball hats in the same identical botanical print—worn together, they'd make for a twist on conventional camo for the urban jungle.New and improved denim—raw selvedge from Italy and Japan and triple-washed jackets inspired by vintage Wrangler versions—were outliers in this grand adventure. Likewise the well-cut jacquard, pinpoint, and evening smoking jackets (all made in France), which were designed to be dressed down rather than up. So while you needn't feel wanderlust to see the appeal of both destinations, the collection's standouts were the pieces that signaled nowhere in particular.
26 June 2013
On the second to last day of the Paris shows, with four weeks of fashion in the rearview mirror, we thought we'd uttered all there was to say about boy-for-girl clothes. But then Paul & Joe's Sophie Albou-Mechaly went and put on a show about androgyny. She established the masculine/feminine mood with the first look out: a lace-edged silk camisole paired with pleated wide-wale cords, topped by one of the teddy bear coats that have been turning up on a lot of runways this season. The tailoring, thankfully, got sharper from there, with strong military-inspired coats in charcoal gray or navy with big brass buttons, and nice-looking trousers in a Prince of Wales check or bright yellow wool. On the other side of the coin, printed pajama sets kept the lingerie part of the story going.Elsewhere, black and gold brocades felt a bit like last year's fixation; still, Albou-Mechaly made a believable case for hers, especially when she cut the brocade into an ankle-grazing skirt and topped it with a slightly oversize sweater. She opted out of using fur at her men's show, but showed no such restraint here. Fur tippets accessorized many of the looks, and she tossed in a patchwork fur coat and vest, too. They looked a bit retro compared to the rest, but they were still cool.
4 March 2013
Expansion is on the 2013 agenda for Paul & Joe's Sophie Albou. At the third arrondissement space where her latest collection was set up for buyers, a brand-new handbag line was front and center. A bag business helps assure entrée into emerging markets; it also fills out a designer's own stores. After focusing on wholesaling for many years, Albou is eager to open her own boutiques.That's why her new pre-fall lineup was more diversified than ever. On the one hand, she's elevated her offerings, incorporating Swiss-made guipure lace into a shift dress, say, or embroidering necklines with big clusters of crystals. Prices will be about 5 to 10 percent higher than usual. On the other, lower end, she's pushing the cute factor. Hand-knit sweaters featured cat and wolf faces that were echoed in the accessories. As for the middle, Albou ranged from Asian motifs to the rounded, cocoonlike shapes of Cristobal Balenciaga (a popular leitmotif at the Couture shows) to standbys like her best-selling jumpsuits. All in all, this was a sellable proposition.
21 January 2013
Paul & Joe's Sophie Albou was inspired by the Belgian surrealist René Magritte for Fall. Thinking of his paintingLe Fils de l'Homme,she built a cloud-covered set and brought in the bowler hats. Blue-sky thinking is a fact of life at Paul & Joe, so maybe the influence made sense, or maybe surrealism is a cute way to explain novelty-print shirts like the one she created with rows of mounted stag heads. They, and a handful of Magritte takeoff T-shirts, were the clearest markers of the surreal. The rest of the collection looked more to Magritte's own times, especially the thirties and forties, for silhouettes like the pleated, wider-leg pants that Albou showed as part of houndstooth and Prince of Wales suits. The most excitement was saved for a variety of very fine Made in France coats, now a larger part of the line than ever before. They, too, had a larger-bodied retro feel, though the faux-fur collar (Albou turns up her nose at the real stuff) was closer to today. They were ably modeled by her son and sometime coworker, Adrien.Le Fils de l'Homme,meet le fils de la femme.
16 January 2013
Coincidentally, Paul & Joe's Sophie Albou hit on the same hot spot for her Spring collection as Isabel Marant: Hawaii! "She's a cool, active, working woman, and she mixes her city looks with Hawaiian looks," Albou said before the show. "It's a sexy, interesting mix." In fact, it's not the newest idea out there, but it served Albou well tonight. Tailoring was the strong suit of her Fall collection, and her Spring lineup delivered more of a good thing: Take softly pleated, faded denim jeans with a boxy striped bomber, or a slightly elongated white jacket with striped, cuffed pants. Hawaii entered the picture via fluoro floral embroidery, which appeared on everything from a button-down that accompanied a blazer and oversize Bermudas to a pair of low-slung capris.In this era of eye-searing digital prints, Albou's multicolor tile motif looked a little fuzzy. Better was an electric-bright orange and marigold floral, especially when it appeared up and down the front of a simple, sleeveless floor-length dress worn with flats. It would've been nice to see more of the stretch jersey pieces. A racerback style in white with a black band at the bottom had a sporty kick.
1 October 2012
Paul & Joe's Sophie Albou sympathizes with customers who question the retail calendar. "The resort delivery can be frustrating; women want to buy clothes and wear them right away," she says. Her pre-collection, she insists, offers a wide enough range for beach vacationers and city slickers alike.Despite the nods to nautical—thick cable-knit sweaters, brass-buttoned coats, and wide-legged pants with front pockets—Albou steered more toward a broader, breezy sensibility. Lace in dusty pink and blue made repeat appearances as a pencil skirt, cigarette pants, and a men's blazer. Tiny cats and dolphins showed up as prints on a tunic dress, a boat-neck top, slim pants, and bikini bottoms. And a silk crepe covered in lipstick kisses easily wooed as blouses and drawstring shorts.On the rare occasions Albou strays outside her comfort zone, the results can be mixed. Take the jumpsuit designed to look like two pieces; initially, it seemed clever in a trompe l'oeil way. But there's no reason why a blouse and trouser pairing could not achieve the same look—and minus the logistical hassle. What was clever was the way Albou allowed a few standout pieces—a sheath that plunges beautifully in back and a sleeveless blouse with scarf tails in an Escher-esque print—to anchor the brand's easy wardrobe updates. These aren't clothes to save for special occasions, but that's exactly why the collection works so well.
4 July 2012
Paul & Joe's Sophie Albou said she was thinking about a Peter Beard–inspired African journey while designing Spring. Aside from a degradé elephant T-shirt and the animal-print linings on a few pieces, though, the safari theme remained mostly in the background. Closer to hand were the kind of colorful, young pieces that are a regular favorite of Paul & Joe fans. This season they included examples of the matching top-and-trouser "total outfits" that are emerging as an overall trend, wallpaper florals, and jersey suiting. But most compelling were the label's new additions: for one, a swim collection, and for another, Mr. Paul & Joe, a collection of Italian-made linen suits that improves on the line's existing tailored options. And if your own safari of the mind becomes a safari of fact, Paul & Joe will help you pack: Albou is also debuting a new luggage collection, made in collaboration with the ParisianmalletierJack Russell.
27 June 2012
After Sophie Albou completed her men's collection in January, she found herself trying on the jackets and coats, and rather liking what she saw.Et voilà, the seed of her women's collection was born. "I thought it was cool," Albou said backstage. "Why do we need to do something so complicated for women?" Why, indeed.Around the runway, every square inch of wall was covered in a photograph of woods in full autumnal glory. Albou cited the arboreal Edens around Paris, like the Bois de Boulogne, as a source for the rich auburn and ocher shades, but overall the look distinctly paid homage to the English countryside.Albou mixed mannish tweed coats and trousers and sweeping trenchcoats with sequins, jeweled satins, and ditzy floral prints. Sure, it's not revolutionary, but her spin had its own fizzy fun, as seen in the pop of a velvet jacket and baggy pants in hunter's orange, or in subtle but effective hits of leopard. But what made this a solidly good collection was the fact that all that tailoring—jackets with strong shoulders and skinny sleeves and slouchy, hip-slung trousers—simply looked great, both well-fitting and well-made.Compared to last season's motorcycle mama, there was a welcome sense of polish. And it felt more in line with the trends and what girls want, or will be wanting when September rolls around. Pajama silks? Check. Baggy trousers? Check. All that's left is for Albou to open the New York boutique she's been planning for ages.
5 March 2012
Studio Harcourt on Paris' rue Jean Goujon was founded in the early part of the twentieth century, and grew to become such a destination for heroically lit, up-close-and-personal portrait photography that the stars of the silver screen, both from Hollywood and from Paris, were known to drop by for a sitting. More recently, it was the scene of Sophie Albou's menswear presentation for Paul & Joe. Albou was designing, she said, with French cinema'sl'age d'orin mind: the fifties and sixties, when "chic, beautiful, elegant, and very masculine men" like Yves Montand ruled the roost. It was an homage to mid-century staples: belted overcoats, fedoras, and flat caps; wider-legged pants than P & J's usually slim-cut standard. It could have been costumey, but for every wide pant, there was its counterpart in skinny, as well as colors, shapes, and fabrications that her young client base will recognize as their own, whether they know Yves from Adam.She may be looking toward the past for inspiration, but Albou continues to move her label forward. She is introducing a diffusion men's line, PJ, this year. And if all goes well, her first New York store will bow in 2012, too.
18 January 2012
"American boy, American girl, most beautiful people in the world." That was the line from the Doors' "Queen of the Highway," which closed Paul & Joe's show, where Sophie Albou's imaginary muse was riding her motorcycle from the Southwest into Mexico. This open-road royal is the kind to pair her drab, patch-pocketed shirt with a bright silk ikat skirt, a sleek chignon, and beaded high-heel sandals. In short, a mix of the army surplus store and the local ethnic emporium, with a touch of glamour.Particularly with the groovy soundtrack, the stage was set for something dusty and bohemian. The hippie-chic revival of embroidered jeans, creamy fringed ponchos, and languid peasant dresses felt quite right. Albou's twist was to gild the look. "She likes gold; she likes luxury," the designer said backstage. There were gold buttons and Lurex knits, but bronze and gold leather jeans and button-downs really made the point.Albou's obsession with America is understandable since it's a market she's been positioning her company to invade. And this was a collection that her legion of fans will respond to. Still, going forward, we trust that she won't entirely neglect her Gallic, gamine side.
3 October 2011
All the stars aligned for Sophie Albou's 15th anniversary show at Paris' legendary Olympia Theatre, where everyone from Edith Piaf to KISS has played. Albou had secured nineties acid-jazz band Jamiroquai to surprise the Champagne-sipping crowd during the models' final walk, but when it came to the clothes, her mind was on the seventies chic of Romy Schneider.Albou's spin on the familiar reference was unsurprisingly both energetic—brimming with cute signature floral prints and all sorts of texture—and very colorful. But to her credit, there was also an all-ages elegance in pieces like a ruby-red coat with a purple fur collar or a slim paisley midi dress. A lovely pleated silk floral skirt was based on one the designer had admired on her own mother in the seventies. "Very Catherine Deneuve," said Albou: It was Yves Saint Laurent.The casual observer of this contemporary brand might be surprised to know that it makes use of designer-caliber fabrics like an Italian crepe de chine that's hand-painted and embroidered at a specialized factory in Lyons. Credit Albou for still keeping the price right. In this show, that kind of grown-up quality was easy to miss with the sometimes clunky styling and those funky Timberland-esque high-heel boots. But in a city with some of the oldest fashion houses in the world, when you're only 15, it makes sense to still be having some fun.
6 March 2011
Nearly every model on the runway at Paul & Joe was smiling—from "smizes" to the full monty with teeth. Was it the all-flats footwear? Or the fact that this was the second-to-last show of a grueling month? The explanation came from designer Sophie Albou. "I like smiley girls!" she exclaimed backstage. "I tell them all to smile."Those happy expressions were a perfect fit for these giddy-cute clothes. This looked unabashedly like a Spring/Summer collection, a thing of note at a moment in fashion when seasonlessness is the standard. Albou opened up shop recently in Los Angeles—her sole stand-alone U.S. outpost—and while her brand of bohemia isparisienne, these flippy printed minidresses, shrunken bombers, embroidered peasant blouses, and fluttery maxi skirts should do a brisk business on the West Coast.On the verge of her 15th anniversary, Albou explained that she wanted to include everything she loves: color, freshness, and prints. The last gave her a point of difference in a crowded contemporary market that wasn't anywhere near as cheek-by-jowl when she began. The kitten print here will give Albou cool-girl cachet, as will the nerdy prescription glasses, and that should stand her in good stead when she finally opens in New York—a plan that's in the offing.Albou explained that the huge orb at the opening of the runway was meant to be the sun. Kudos to her for bringing light and warmth to the end of a rainy week.
5 October 2010