Last night, L’Observatoire de Paris – the French capital’s historic astronomical observatory – was backdropped by a shattered mirrorball and washed in gleaming white light for Acne Studios’ SS24 show. As guests sat atop plush soft furnishings by Austrian artist Lukas Gschwandtner, the electronic thud of Bristol duo Giant Swan welcomed the first model down the runway.

Inspired by British artist Katerina Jebb’s scanography series Physical Evidence of a Woman, symbols of stereotypical feminine dress codes were subverted in an avant-garde take on feminity – we’re talking elongated eyelashes laid shut on silk tops and red stilettos distorted across mesh dresses. In an abundance of textures, feathers sprouted from garments while ruffles and pom poms periodically appeared on tulle dresses in a clever contradiction to the sleek silhouette found in sculptural draping or slim-fit tailoring.

In a playful exploration of proportions, skirts levitated low on the waist in flowing forms while elsewhere, hemlines rose high on the thigh and exaggerated sleeves were met by their form-fitting counterparts. Denim formed the core of Jonny Johansson’s collection as the versatile fabric was updated and reworked with white paint and crackled clay, leather was moulded or crinkled and translucent fabrics were layered in contrasting prints. Neutral hues of cement-hued whites and greys gave a nod to the industrial elements of the collection while vivid blues, greens, and reds stood alongside pastel pinks and purples. 

Speaking on Acne’s SS24 offering, Johansson said; “The industrial mood this season comes mostly from my passion for denim and the many ways we can manipulate this amazing fabric. It also comes from the idea of a construction site: things are unfinished, a work in progress. I wanted to convey the beauty of that.”