As the first Canadian woman showing on the Paris calendar, Marie-Ève Lecavalier was keen to make a mark with a physical event at the Palais de Tokyo. “Fashion videos can get a bit boring, so I wanted to have fun with it and bring people into [our] universe,” she said as guests weaved around luminous columns to check out Lecavalier’s work made of scrap leather and artisanal prints made using fresh flowers pressed between folds of fabric.
The look: Lecavalier looked to the 1973 surreal-fantasy film “The Holy Mountain,” from Chilean French filmmaker Alejandro Jodorowsky, for this collection that swings between delicate, even fragile-looking feminine outfits and well-proportioned tomboyish looks.
Quote of note: “I like to have industrial pieces but also have craftsmanship and a development that is thoughtful,” said Lecavalier, who continues to use off-cuts and scraps otherwise discarded by the industry.
Standout pieces: Her floor-grazing knit crochet dresses and a black-white-red sweater version; transparent ribbed separates perfect for layering and adding a sense of breezy drama, and an A-line dress where she assembled scrap leather into a striking gradient motif.
Takeaway: Slow and steady wins the race. Five seasons into her brand, Lecavalier’s experimentations are highlighting the handcraft and wearability that made her the 2018 winner of the Chloé Prize at the Hyères fashion and photography festival, but also the ways in which she is growing. Her tailoring, in particular, further honed the impression of unfussy sophistication that feels very in-the-now.