IN THE beginning, there was darkness, and then there was AMI.
Starting in pitch-black, models walked through a gradually lit stage inside the Tennis Club de Paris, immediately capturing Alexandre Mattiussi‘s take on a Parisian, pre-dawn atmosphere of carefree elegance.
The iconic faces of Lou Doillon, Laetitia Casta and Diane Kruger joined the ranks of models wearing shades of coffee, midnight blue and charcoal within the Haussmann-style set façade.
Clean lines and sharp silhouettes defined the formal sophistication of the AMI’s autumn-winter 2024, and as colours of cream, lilac and the occasional yellow began to appear, Mattiussi’s concept of integrating night owls and early-risers was executed faultlessly.
Sheer bodysuits followed respectably modest taupe suits as two lifestyles met, and a fossil grey trench coat was paired with a daring mustard yellow knee-high boot, allowing viewers to playfully imagine the life of its wearer.
Wonderfully chic styles of black and white check blazers were met by one model with softly sensual tights and heels, and another in matching trousers and a black-on-black tie and shirt.
Bowling and bucket bags joined as new models of the Paris Paris line, Ami de Cœur buckles decorated belts, and shoes were adorned with AMI’s signature striped heel.
On the collection, Mattiussi said: “The collection is authentic and self-assured, it marks a transition by reaffirming how AMI expresses elegance and refinement. It is never pretentious, always generous, well-crafted and of the finest quality. I love new beginnings, and this autumn-winter 24 brings a sense of renewal. It is like the start of a new day, when Paris awakens, when beauty is everywhere, and anything is possible!”
The familiar face of AMI’s ambassador Choi Wooshik watched the presentation, along with stars like Ed McVey, Juliette Binoche, Dominique Fishback and Ross Lynch, to name a few.
Mattiussi has gracefully reigned in the designing of effortless refinement, and the friendly authenticity of AMI’s autumn-winter 24 was no exception.
by Madeleine Ringer