Patou S/S 2024 Paris

[vogue28]

VOGUE.COM

 

[vogue28]

VOGUE.COM

 

[TianCouture]

pat-ew

 

[Avonlea]

chile

 

[gallianostan]

what the f*ck has any of this got to do with jean patou?

 

[Tchi]

This is giving me Giamba vibes.

 

[FashionFanatico]

a bit desperate to cater to the youngsters.
Patou should stick to their perfumes only.
These dresses just trag down the last rest of the reputation of the house.

 

[Cocteau Stone]

This is garbage. The whole look of it is like those fashion brand ad recommendations that suddenly come into your feed out of spite.

 

[Cerise Vendome]

It’s cute, pleasant but not particularly exciting.

 

[Squizree]

Absolutely not. Delete thread plz.

 

[kasper!]

Still that Carven vibe.

 

[Deleted member 7575]

It looks like Opening Ceremony.

 

[TaylorBinque]

Didn't Christopher Kane did scallop edge at Versus? They were better than this.

 

[LadyJunon]

To be honest, I don't know what they're doing with this brand. I know that they intially bought the house for the "Joy" name and that it was Henry's idea to do a revival, but the brand direction/management here feels so nonexistent.

The first misstep is Henry's vision:
The house may be LVMH funded, but it's still new to the eye of the fashion public. When a house is new or freshly revived, it needs a strong identity to cement itself, which means creating very directional collections. Personally, I would've taken the shapes of 60s/70s Saint Laurent Rive Gauche with Lacroix's colourist properties.

The second misstep is the merchandising:
The seasonal collections are too severally editted for the stores, making it feel they're all blending together. Also as a newly revived house, Patou doesn't have the indie coolness or superbrand caché to justify pushing so much logoed merchandise.

The third misstep is the marketing:
The house has a almost silent relaunch, starting with showroom presentations and lookbooks. While cost effective, it doesn't get the attention or excitement a brand revival really needs. Holding an actual runway show at Paris in front of Vogue, Elle, WWD and a couple indie/semi-indie magazines, critics and emerging celebrities would've done the trick to spread awareness of the brand. Otherwise, they could've gone for films to show each collection along with an open-to-public presentation.

For example, Filippa K is currently going through a "revival" with Liisa Kessler, a designer from Saint Laurent's studio, at the helm. While they would definitely benefit from switching to Paris or Milan Fashion Week to cement their presence, the brand seems to be well directed and managed from all sides.

 

[vetements]

I don’t think any of these clothes are ugly by any stretch, they are just pleasantly looking cute clothes that K-pop stars or their fans will like and will be copied by Shein and the likes if they ever become a hit.
Maybe that is just what Patou Management is aiming for? I do see some girls wearing their caps and t shirts with the big logo across the chest every now and then.

Does Patou has any house codes to begin with?

 

[LadyJunon]

Does Patou has any house codes to begin with?

They do, but they're too aesthetically similar to Chanel to really take advantage of them. That probably explains why Henry seems so lost here.

 

[Fulton St Critique]

I can see it now, MARKDOWN, CLEARANCE, MARKDOWN

25%.... 50%...... no 75% off! Sale sale sale!

 

[Lola701]

To be honest, I don't know what they're doing with this brand. I know that they intially bought the house for the "Joy" name and that it was Henry's idea to do a revival, but the brand direction/management here feels so nonexistent.

The first misstep is Henry's vision:
The house may be LVMH funded, but it's still new to the eye of the fashion public. When a house is new or freshly revived, it needs a strong identity to cement itself, which means creating very directional collections. Personally, I would've taken the shapes of 60s/70s Saint Laurent Rive Gauche with Lacroix's colourist properties.

The second misstep is the merchandising:
The seasonal collections are too severally editted for the stores, making it feel they're all blending together. Also as a newly revived house, Patou doesn't have the indie coolness or superbrand caché to justify pushing so much logoed merchandise.

The third misstep is the marketing:
The house has a almost silent relaunch, starting with showroom presentations and lookbooks. While cost effective, it doesn't get the attention or excitement a brand revival really needs. Holding an actual runway show at Paris in front of Vogue, Elle, WWD and a couple indie/semi-indie magazines, critics and emerging celebrities would've done the trick to spread awareness of the brand. Otherwise, they could've gone for films to show each collection along with an open-to-public presentation.

For example, Filippa K is currently going through a "revival" with Liisa Kessler, a designer from Saint Laurent's studio, at the helm. While they would definitely benefit from switching to Paris or Milan Fashion Week to cement their presence, the brand seems to be well directed and managed from all sides.

I mean, this is a start-up that uses a well known name and that was pushed into this thing by the sole desire and ambition of the creative director.

The problem with this kind of brand is that you can’t go full out in marketing because at that price point, you can quickly jeopardize the perceived image of the brand…

I’m going to say something controversial but for me the issue with Patou is…Guillaume Henry.
It’s weird because it’s his vision, it’s his project and he has IMO chosen the right aesthetic for the brand.

The problem for me is that he doesn’t know how to push that aesthetic, how to make it international.

‘When I see Patou, I see a more accessible version of MiuMiu. But the beauty about MiuMiu is that it’s very cute but it can speak to a different range of women.

You take a young designer who has that MiuMiu sensibility, a on going personality and it works. This is too little girl-ish.

And they are quite unsure about their communication. One minute they are super camp, then they are gender fuild, then super girly.

Does Patou has any house codes to begin with?

Balmain had no codes but Decarnin and Rousteing have managed to create some kind of codes. Today Rousteing goes to the extend of creating some kind of weird connections between his work and Pierre’s.

If Patou was good, focused and convincing, we wouldn’t ask ourselves the question anyway.

 

[LadyJunon]

I mean, this is a start-up that uses a well known name and that was pushed into this thing by the sole desire and ambition of the creative director.

The problem with this kind of brand is that you can’t go full out in marketing because at that price point, you can quickly jeopardize the perceived image of the brand…

I’m going to say something controversial but for me the issue with Patou is…Guillaume Henry.
It’s weird because it’s his vision, it’s his project and he has IMO chosen the right aesthetic for the brand.

The problem for me is that he doesn’t know how to push that aesthetic, how to make it international.

And they are quite unsure about their communication. One minute they are super camp, then they are gender fuild, then super girly.

If Patou was good, focused and convincing, we wouldn’t ask ourselves the question anyway.

Makes sense. Normally, house codes are established by creating certain products and design elements that become recognisable or integral to the house in the span of a few seasons. Patou's only current "iconography" is their logo, because Henry flip-flops too much in terms what he designs and it shows.