Oh, old friend, how I’ve missed you. A year from last being in Paris for the shows, 12 months since last writing about The Row, and here I am, sitting once more at a show for Mary-Kate and Ashley’s label that has been doing quiet luxury—and sometimes not so quiet luxury—for so long now that they own it, lock, stock, and quadruple ply cashmere. They were doing quiet when it wasn’t even a whisper. Back then, you know, we just called it The Row. A lot has happened in fashion during that time—well, sure, the rather loud ascent of quiet luxury, for one thing—and coming back to see the newest work from the Olsens has seen a bit of a mood shift. They’re doubling down on their idea of making sure The Row represents not only how they see the world, but how they show it.
A few days ago, when the invitation arrived, it included a note expressly asking not to use your phone to shoot or film the collection. (Just to drive home the pre digital vibe, everyone was provided with a notebook and pencil.) And by the time you’re reading this review of their quite wonderful fall 2024 collection, it will have been some days since that show happened. Here’s likely why: A colleague mentioned on exiting that the runway was being shot on film, which takes time to come to life. It’s not quick. It’s not instant. And it can’t be deleted with a quick tap of the finger. Instead in its analog way, it creates images which are tangible physical objects which can stick around. A long time, if you look after them. Think about what The Row makes, and couldn’t you say exactly the same about that?
As to those things they make, here’s what looked like an absolute dream this time round, with the Olsens eschewing some of their more intense experiments in cocooning and draping, replacing them with a gorgeously thoughtful ease. That was well represented by the likes of the oversized and all enveloping comfort of two masculine-inflected coats, one black, one navy, and popped by the surprise of their accessories; a knitted hat encrusted with silver metal embellishments with the former, ginormous gold and ebony hoop earrings with the latter. That easiness was also evident in the way a burnished tan leather blazer was popped over another, with black lean pants; ditto the perfection of cut and fabric evident in a charcoal gray pantsuit.
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