The Palais Royal and its Daniel Buren-designed black-and-white candy cane columns informed Roland Mouret’s spring graphics. “Since I am a kid, I love the contradiction of this place,” the designer said backstage before the show. He was referring to the whimsy of the structures against the park’s calm environs, a contrast he also channeled for his clothes.

Mouret explored his showier side with bold color play, from black-and-white stripes on a leather coat to a skirt with a turquoise inset. These, along with many other looks, had an early Eighties feel — think Debbie Harry. The use of gaffer’s tape details as straps on a dress or appearing to hold together different fabrics for a top added a punkish, but polished, DIY vibe.

Some of the casual white numbers, also worked with tape, provided a more relaxed, less flashy counterpoint.

The Palais Royal and its Daniel Buren-designed black-and-white candy cane columns informed Roland Mouret’s spring graphics. “Since I am a kid, I love the contradiction of this place,” the designer said backstage before the show. He was referring to the whimsy of the structures against the park’s calm environs, a contrast he also channeled for his clothes.


Mouret explored his showier side with bold color play, from black-and-white stripes on a leather coat to a skirt with a turquoise inset. These, along with many other looks, had an early Eighties feel — think Debbie Harry. The use of gaffer’s tape details as straps on a dress or appearing to hold together different fabrics for a top added a punkish, but polished, DIY vibe.

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