The Row: Monastic Minimalism and Material Purity
If Grès was a classicist, The Row, founded by Mary-Kate and Ashley Olsen, is her minimalist heir. The brand is revered for its almost monastic devotion to fabric, fit, and form over any kind of superfluous
embellishment. Much like Grès, who worked directly on the model to achieve the perfect drape, The Row’s power lies in its unseen engineering—the meticulous construction that allows a coat or dress to hang with architectural precision. The silhouettes are often generous and restrained, using luxurious cashmeres, wools, and silks to create column-like shapes that feel both modern and ancient. For the Grès admirer who appreciates how a garment’s value is communicated through its impeccable quality and flawless execution alone, The Row offers a masterclass in quiet authority.
Rick Owens: Gothic Grecian and Draped Jersey
At first glance, the dark, post-apocalyptic world of Rick Owens might seem miles away from Grès’s serene classicism. Yet, at their core, both designers share an obsession with jersey and the art of the drape. Owens has built an empire on fluid, architectural garments that wrap, twist, and fall around the body with a primal elegance. His work often features draped jersey tanks, gowns with softly gathered hips, and asymmetrical shapes that feel like a grittier, more futuristic evolution of Grès's Hellenic forms. Where Grès sought perfection and purity, Owens finds a raw, romantic power. It’s as if the ancient statues Grès drew inspiration from have been re-imagined for a darker, more complex future, but with the same fundamental respect for how fabric can transform the human silhouette.
Haider Ackermann: The Romantic Master of Movement
Haider Ackermann is a designer for whom the drape is everything. His work is a poetic exploration of fluidity and color, earning him a reputation as one of fashion's foremost romantics. Like Grès, his focus is on how fabric can be manipulated to create emotion and movement. Ackermann’s collections are known for their intricate layering, where silks and leathers are molded and folded into complex, flowing shapes that seem to float around the body. He has even directly referenced Grès's techniques, using plissé bands of fabric wrapped and twisted around the torso to create sensual, sculptural forms. For those drawn to the sheer artistry and technical skill of Grès’s hand, Ackermann offers a modern vision of couture-level draping that is both impeccably crafted and deeply personal.
Issey Miyake: Technological Pleating as Sculptural Form
While Madame Grès achieved her famous pleats through painstaking hand-sewing, Issey Miyake approached the same idea through radical technological innovation. His iconic Pleats Please line, launched in 1993, is built on a patented “garment pleating” process where clothes are cut and sewn first, then fed into a heat press to create permanent pleats. The result is clothing that is lightweight, functional, and sculptural. Like Grès, Miyake was interested in how clothing interacts with the body, creating two-dimensional forms that come alive in three dimensions when worn. His work represents a different path to the same goal: creating timeless, architectural garments that offer freedom of movement. For the Grès fan who appreciates not just the aesthetic but the sheer innovation of her craft, Miyake is the logical and brilliant successor.
