Paris Fashion Week: Designers find a rough, some-more genuine beauty on runway
March 15, 2015 - fall Denim
Paris Fashion Week had it all.
There were over-the-top theatre sets (Chanel‘s Brasserie Gabrielle assembled during a Grand Palais, finish with built-in mahogany bars, banquettes and waiters portion coffee and croissants). There were surprise runway cameos (Ben Stiller and Owen Wilson in a walk-off to announce “Zoolander 2” during Valentino).
And there were luminary hijinks galore during a tumble ready-to-wear shows that finished Wednesday (battle of the newly bullion blonds Kim Kardashian and Jared Leto, for one, and front-row appearances by Kanye West, Lorde, Lady Gaga, Katy Perry, Selena Gomez, Woody Harrelson and more).
FashionParis Fashion Week accessories from Stella McCartney, Miu Miu, moreSee all related
On a runways, a biggest trend was individualism and a delight of personal character (if we can call that a trend), many particularly at Dries Van Noten and Maison Margiela. Many designers deconstructed a normal codes of delicate sauce (corsets, satin and lace), blending them with menswear checks, tweeds and tailoring, achieving a severe though some-more genuine beauty. And they grappled with how to advise sexuality though objectifying women, by charity a sight of leg, a glance of collarbone or a unclothed shoulder.
Designers also spoke to a definition of conform in today’s technological world, where news of Apple’s entrance into a oppulance market with a $10,000 bullion Apple Watch stole focus.
Karl Lagerfeld’s Chanel brasserie wasn’t usually a thesis on that to hang a collection (complete with dinner-plate-shaped handbags, naturally). It was a idea that a usually genuine oppulance currently is time. So since not do as a French do — lift adult a chair, put down a iPhone and unequivocally suffer a dish with friends?
That’s what Lagerfeld’s models did: After strolling a runway, they took seats and enjoyed a uncover themselves. The garments were black-and-white, manly and feminine, bourgeois madame and lively mademoiselle. Some of a tumble season’s trends incited up, including a bomber as a new coupler silhouette, commanding A-line skirts.
But there was also copiousness of infrequent wear. One of a best looks was a mohair check cardigan ragged over flared denim trousers with tried-and-true Chanel accessories. (Yes, wire necklaces, silver sequence belts and witness pumps were behind like aged friends.) Some of a cocktail-party garments was suggestive of waiters’ uniforms, including a black seperated leather coupler over a tuxedo shirt, crawl tie and stormy black skirt.
Raf Simons changed courses during Dior, holding a collection from a garden to a jungle with a expel of extreme females in colorful animal stripes, voluptuous catsuits and eccentric thigh-high vinyl boots.
Perhaps with a curtsy to hoyden stylish character idol Lorde, who was sitting front row, Simons brought some-more masculinity into a collection too, starting with terrific-looking tweed jackets over slim cropped pants and silken vinyl boots with lucite heels. The shirttails of menswear-style button-downs peeked by a pleats of tweed skirts, display a spirit of leg. Jacquard weave dresses in preoccupied animal ribbon patterns hugged curves. The total outcome was abounding and erotic though still complicated — a singular animal, indeed.
Booth Moore Its suitable that Phoebe Philo showed her tumble collection for Celine on International Womens Day, since her talent is in conceptualizing garments that feel like they are finished for women by women. Its suitable that Phoebe Philo showed her tumble collection for Celine on International Womens Day, since her talent is in conceptualizing garments that feel like they are finished for women by women. ( Booth Moore ) –>
At Givenchy, Riccardo Tisci staged a hobo romance, with wardrobe for women who live life in front of paparazzi cameras, including alluring cut black velvet and edging dresses ideal for Kim Kardashian West, corseted bullfighter coats for Madonna, beaded filigree gowns for Cate Blanchett, and sensual, peacock plume imitation dresses, hourglass-shaped fur jackets and slit-front flounce skirts.
At Saint Laurent, the demeanour was pretty-girl punk, with full-skirted polka-dot dresses, crinoline skirts and parsimonious leather minis that hearkened to a 1980s, churned with engineer Hedi Slimane’s boyish new classics — biker jackets, slashed leather pants and slim line suits.
The quirky, confident sexuality of Phoebe Philo’s Céline collection was a distant cry from a sight shows we saw on some runways. And appreciate goodness. Because, while there might have been a place for nakedness and physique obstruction on a runways during one time, it’s a 21st century. We’ve been there, finished that.
Instead, Philo stepped out on a lumber and dared to be different. Much of a wardrobe seemed to be entrance dismantled or to be prepared to trip off. There were padded satin coats pulling detached during a shoulder seams, trompe l’oeil ribbed sweaters with half-buttoned bra fastenings in back, and color-blocked silk trip dresses that skimmed suggestively, rather than hugging, ragged with a fibre of whimsical, teasing fur smoke pompoms thrown over one shoulder.
Stella McCartney was on a identical track, exploring a interplay between manly and feminine, corsetry and tailoring.
Pretty sleeveless tops slid suggestively off one shoulder. Dresses built on a corset conformation and spliced with tweed and rose bullion brocade were ragged with flared trousers. Sculptural black dresses also sent charming cues, cut adult to there, dancing around a hips and ragged with molded pearl necklaces.