Stella McCartney designed a collection that was full of relaxing and beautiful clothes that are perfect for comfort and ease and pretty feminine. The main motif throughout was the cresting curlique embroideries that edged the scalloped hems of miniskirts and the lapels on blazers. They were added on to the sportswear that was divided into tank dresses and tailoring. There were many short dresses that were short and looked as though two dresses were layered on top of each other with some details of mesh. They came in combinations of white, black and cobalt blue.
The men's wear styles were marvelous and the tailoring was impeccable and came in smart and new shapes in forms of jackets and pants. There were great prints and paisleys on spare tailored jumpsuits and some pyjama style looks demanded comfort. The body hugging dresses with the mesh panels down the side were downright pretty and sexy.
These designs are the expression of Stella McCartney's vision for Spring and Summer of 2012 and is truly unique, classy and modern. I am looking forward to see what she designed for the British teams for the London 2012 Olympic Games. It is no mistake that she is meant to be a designer.
While taking his bow after his Balenciaga show an emotional Nicolas Ghesquiere mouthed "Sorry, sorry." If you are wondering what he was sorry for it is because of the collapse of the benches that all fell like dominos as the room filled up. After three or four crashes a voice over the p.a. system asked in French and in English for everyone to stand up and watch the show fully upright.
The presentation that began with a high fashion statement of structure and volume put this collapse behind and pulled the attention of the room on this highly chic line-up. Earlier on he said "I don't know if oversize is the right term for that type of construction. But this famous, and for me, a very functional, concept of Cristobal is the idea of the space between the body and the fabric.The clothes float away from the body. It's one of the big iconic things of Balenciaga. The fluidity of floating is beautiful, but it is something else. An architectural piece floating around the body is very structural. I think it's something that Balenciaga invented."
Ghesquiere has reinvented this concept and by seeing these clothes there is nothing else but beautiful construction and a mixture of fabrics that absolutely showed what design and fashion is all about by thinking out of the box. The oversized pieces that were grand in proportions were lightweight that came in graphic color plays. Fabric collages came many shapes some of which were worn with super short pants.
The exaggerated, downward sloping brims that Balenciaga introduced in 1967 were worn with some of these inspirations. All of this is a continuous flow of ideas and inspirations that Ghesquiere channels for Balenciaga and are always marvelous must haves. What was Nicolas sorry about? I forgot.
When a designer has created a string of fabulous collections that were successful it indicates that it would be unwise to just coast along and relax. It is more about thinking more or less out of the box. And Alber Elbaz thought about how the Internet has changed the way he designs. "I thought 'All I want is a gray jogging suit, but in the street it will be so boring,'" said Elbaz during a preview. "Then I said, 'You know what? We are not X-raying everything.' So for me it was more important [how the clothes] would feel than how it would photograph."
Elbaz came up with clothes perfect and chic for comfort. And so the jogging suit made it along with the T-shirts, pencil skirts and loose shirt dresses opened the show. The Track pants with side stripes and slits were sexy. A white T-shirt was done with special, structured sleeves. And the stretch scuba material was worked into tight skirts, boned on one side to prevent from riding up. A spectacular color-blocked dress with long sleeves and a bejeweled snake slithering up the side and around the neck was a delight.
Elbaz moved away from the draping and tucking that shaped most successful collections but he pointed out that his costumers wanted it. He found a way to reinstate it through pronounced, padded shoulders created from tucked fabric on sleeveless blouses, silky sweatshirts and tailored jackets. Elbaz called them "wings".
In the end there was a fabulous Eighties vibe that was completely out of control with chic and glamour. Crystal crosses and gold chokers were piled on and were absolutely fun. Tracksuits were done in green and black snake prints and dresses that were soft and pleated held with safety pins are perfect touches to the line up. This is a wonderful sense of evolution always happening at Lanvin and Alber Elbaz is behind it all. Jeanne Lanvin would be absolutely proud.
An exquisite collection by Haider Ackermann. The silhouettes are elegant and relaxed and had such grace as they appeared on the runway. The beautiful oversized tailored jackets with the bunched up sleeves and popped collars over the matching drop-crotch pants that ballooned then tapered looked like Ackermann's own personal style in an exaggerated way.
He said the look was "Rockabilly Barons" finished with oxford mules. The cuts were based in traditional menswear but the fabrics were not and they looked tousled just like the hair on the models heads to resemble a pompadour. The fabrics were thick, shiny silks that were like shantung and geometric brocades came in beautiful jewel tones such as deep purple, crystal blue, persimmon, chartreuse and magenta all laced in gold and silver for an iridescent glow. There were a mixture of rich paisleys and madras that looked traditionally Indian. The heaviness of the upholstery fabrics were quite softened up by the sheer silks and chiffons made into elegant trumpet skirts and draped dramatically with veils.
After the show Ackermann said "This collection was about the woman who travels all over, bringing her wardrobe with her." Another influence to his collection was Yves Saint Laurent. The glamorous finale dress that was made with two vertical pewter lame strips attached to a long knife pleated skirt would have put a smile on YSL's face and he would say "Ravisant!!"
"Very cute and very French" is what Peter Copping described the Nina Ricci Collection for Spring 2012. And what he showed was a collection that was truly Haute Couture Sixties with fabulous treatments of fabrics that made clothes that were quite chic and pretty much lady like. There were suited looks and dresses that were curvaceous and flirtatious in laces, cloques, and printed jacquards. Some delicate patchworks and encrustations of high-sparkle embroideries hit the spot. There was a touch of tough chic with a short biker jacket over a cocktail or a leather trench.
The prints came from the archive of Zina de Plagny, after whom Copping named his collection and who had done a great deal of work for the house founder. Copping had seen an article of de Plagny's daughter and keeper of his archive. He intended to get in touch with her but she found him first. He took his patterns directly from de Plagny, gentle florals memorable contrast with all the season's screamers.
It looks like Copping is putting a challenge into his work for Nina Ricci. All he needs to do now is to get a bit more bolder so that the evolution as a result of this could keep the excitement up and going. At the same token, this is quite the collection for any women who wants to be lady like and sexy.
As the house of Dior is going through its transition it seemed to make more sense in making clothes that are more commercial. This is what Bill Gaytten came up with for his second time designing for the house. No matter what the house is going through there is a loyal clientele that wants to buy a Dior outfit.
This was not the spectacular fashion statement that the house showed in the past. Maybe because there was an absence of the flair of Gaytten's predecessor but there was the modification that maintains Dior's class and luxury that remains present in the world today. The clothes overall are exquisite in construction and quality. What more can you expect from the House of Dior, no matter who the creative director is?
Ann Demeulemeester shows that she is not a one dimensional designer by expressing her soft side with a collection that was loose, flowing and romantic with a menswear twist. Black was not the only main color which she is known for. Ivory and a blushing were added and held a great balance of weight and space. The layers were gauzy and had a great sense of tailoring and the floppy hats gave a nice floating feeling. There were a combination of wide-leg pants and embroidered jackets, caftan like gowns and sheer robes dramatically swept over wide-leg pants with silk fringed tassels around the neckline and back, an effect that continued throughout whether making a statement or a simple accent. This collection was more than hippie chic. It was modern elegance done the Demeulemeester way.
The show opened with an obsessive film by Ruth Hogben a frequent Gareth Pugh collaborator. It starred Crystal Renn, who appeared to be bound and completely ferocious. It was pretty mesmerizing with the art direction and editing as it set the tone which leaned on the aggressive.
Pugh enjoys the dark side and somehow manages to find something beautiful in it and pull out elements of this beauty and make unique pieces that gets attention. Stiff horizontal strips were made into coats, dresses and jackets. Black and white striped styles were in the mix. Among the armor like pieces there were some soft pieces that gave the collection a balance. At the end of the show the screen burst into purple flames, and out came warriors in flame shaped helmets and soft liquid coats. Pugh definitely delivers interesting pieces and is worth looking forward to see his collections all the time.
Riccardo Tisci has been moving away from black which he loves and wanted to show a more romantic side which was reflected with powdery colors, undulating peplums and sheer, frothy fabrics which were surely feminine. After moving fashion into a print loving direction, Tisci has opted to be cleansed of pattern and to go deep sea diving.
There were some markings of some sea wolves that were hand-painted on sequins or leather, and a giant shark tooth pendant on a chain hanging against the rib cage. The show opened with a sleeveless blazer with low slung, peaked lapels and then there were that had menacing short tails worn with severe blouses and sexy scubalike pants. The tailoring and construction were extremely exceptional and innovative. Snug jackets with sprouting jabots moved like seaweed. Skirts had swooping hemlines and trailing streamers.
The climax of the show came when pieces came out with slashed leather fish scales and head to toe silver sequins. When Gisele Bündschen came out with a short and shiny algae green ensemble it was the perfect final look and she looked ravishing and sexy in it making her look like a queen of the ocean.
This is a beautiful Givenchy collection that will blow you out of the water.
Pedro Laurenço is an amazing talent and has been in the Paris scene for just four seasons and has made quite and impression in such a short amount of time. He has great raw ambition and designs well. By looking at the mixed textures of ecological architecture he came up with another fashion forward collection. Geometric patchwork of leather, jute, light velvet, silvery cellophanelike material and green tube beads meant to look like grass was applied all over slim skirts, cropped square pants and leather jackets done in sporty, futuristic shapes. The mixture of fabrics were well done and the technical craft is advanced yet there is a tendency to overdesign in a direction that bears a resemblance to the recent stylings of Balenciaga. Silver-foiled pants and slim layered dresses were the most wearable pieces. The Jackets that were inspired by construcivist toys that had huge curling epaulets could have been less and they gave a nice flare to the collection.
If you want special pieces in your wardrobe, go to Pedro Laurenço.
Giorgio Armani said "The idea is taking all the colors of the pearl. Everything is a play of light; the shiny effect comes and goes." These beautiful words come from Armani observing the pearl and all of its incarnations. The palette ran from not-so-quite whites and pale grays to blues, jade and subtle golden hues. The prints were quite calm and soothing. He kept the focus on the ever changing surfaces of the fabric by experimenting with shapes through cut and the result was a linear look with a considerable amount of diversity.
For day he had beautiful draped dresses with one-shoulder capelets; belted jackets cut in fluid silks; peplumed tunics over pants and simple chic navy suits. For evening there were confections of lavish iridescent embroideries in intricate motifs or unadorned in mesmerizing satins. These looks were inspirations of the waterworld and were structured beautifully. He closed the show with a trio of delicate adornment of whites on his models in an obvious homage to the Three Graces. Graceful it was according to WWD and I agree!
"There is no irony. It's not particularly witty. There's no menace. This time, it's really pure, simple grace." Rick Owens had enough confidence to show a softer side while maintaining his Gothic flair which he believes in with gusto. "Pillar" skirts were columns in black, white, and a terra-cotta tone and slit extra high in the back for maximum ambulatory effect. Owens said he likes the idea of presenting the head like a Brancusi sculpture, an effect achieved through broad tops, with shapes similar to garbage bags cut to accommodate arms and head. There were shirts that were more fitted with slim sleeves and extreme bell cuffs. The shapes are Sixties couture inspired and quite beautiful. Owens said that wherever beauty is, sexuality is not far behind. Jackets were wonderfully crafted in a graphic patchwork of made for wonderful jackets in cotton duck and leather and they were perfect. "I always resent the idea of radical silhouettes or exaggeration being confined on the runway," Owens said. "That kind of extremity should be accessible all day long." RickOwens is true to his aesthetics and that is why he is successful with any collection he creates for his clientele.
With a new collection for Spring 2012, Dries Van Noten delivered with color, prints and shapes done in ways that are unexpected and with class that gets one thinking how clever and talented he is. Silhouettes and construction seem to be reflected by the Fifties and Sixties and had a bit of couture feel to them giving some luxury to the story.
Dries Van Noten was drawn to the architectural shapes of Spanish and Italian couture of the period.The day before the show he said, "It is always about the elegance and the beauty." He took some ideas from 17th century etchings, the jungle, the nighttime cityscapes (London, New York, Beirut, Las Vegas) of photographer James Reeve - combining them in many ways in single pieces. There were peplums on pants and embroideries on toreador jackets. Splashes of hot color were present - fuchsia, bright green and yellow, in a collection that was pretty calm. What a great demonstration of how his mixes prints well creating some abstract elements yet keeping some looks classy.
These nice touches and the wonderful combination of these prints, colors, and shapes is what makes Dries Van Noten a true master in what he loves to do making him a designer who "moves fashion in his own way."
This collection is truly a masterpiece that holds the JiI Sander aesthetic and as the clean Raf Simon's touch is added. This collection for Spring 2012 is a promise to all those who are looking for a minimal yet feminine and lady like quality with a mid-century touch which he said "the highest form that survived and that you always see coming back in contemporary creative outings."
So, out came a line up that began with the signature Jil Sander white shirt that was worked into various ways that was clean and chic . The bold pink paisley prints added a punch, pants and skirts came in gingham, knits were had motifs of Picasso ceramics that were sanction by the artist's familly trust. The dresses that followed after that exuded pure Jil Sander were truly outstanding. The beautiful Grace Kelly-like strapless white full skirted dress was breath taking. Simons has definitely put his best foot forward for a great Spring season for Jil Sander.
Marni is designed by Consuelo Castiglioni. There are is a mixture of bold patterns, color and texture that was playful and quite extravagant in the creative efforts that went into this collection. There is a childlike condition that had quite a playful whimsy that refuses to conform with the humdrum adult world. This collection is a "mix between childhood tenderness and the tension of the grown-up woman." The volume of the Marni creativity is turned up. The silhouettes are simple. The colors were Easter-egg colors and there were some loud graphic patterns on hefty fabrications. What came out later in the show were were some daisy prints, some done in fuzzy tinsel and the finale had some graphic embroideries that came in fist size plastic daisies applied to in triplicate to raffia like beaded skirt. All of these clothes are quite easy to wear. There were some appearances of some sleeveless dresses that were slim with sharp collars that showed the female form which is a rarity in any Marni collection. It looked like Castiglioni had a lot of fun designing this collection and really let her inner child loose and let it express itself in a fabulous way.
Remarkable is what this collection is. And Alberta Ferretti made sure that the collection was full of dresses that were like T-shirts. Well, the collection did not look as if it was so because their was not really anything that was simple or casual and I mean it in a good way. What was captured in this collection was the ease and that came through in wonderful pieces that came in slip dresses and languid skirts that were cut in very lightweight fabrics and the craftsmanship was remarkable. Geometric shapes were cut into various shapes and pieced together on tulle along with some embroideries that resemble Zulu markings. Full dresses were constructed out of crocheted beads that added subtle climaxes to the collection. Daywear included silk tunics over flared pants. The final gowns draped from mesh jet beads and were gorgeous. This collection is just a wonderful testimony of the incredible vision that Alberta Ferretti had for this Spring/Summer 2012 season and that is this is a collection for every woman who wants to look and feel pretty anytime.
The fourth N.21 collection by Alessandro Dell'Acqua was very strong and was enjoyed by many editors and buyers. Known for his feminine clothes he was inspired by Milanese women in the Sixties - "very bourgeois but with a touch of eccentricity." Masculinity showed in separates for day such as a madras shirt and trousers combination with embellished collar touches and tight blue Oxford shirts with a utilitarian feel. Yet in the masculine touches there was a balance with feminine elements such as lace dresses and silk lounge pyjamas in an abstract animal print. Nicely settled in N.21 Dell'Acqua created clothes that were wearable and saleable to any woman who would like to own a piece or ensemble.
This Fendi collection is Karl Lagerfeld's take on daytime chic. The idea of Italian women dressing like they used to on the streets of Milan or Rome was the inspiration. There was a display of neutrals such as black, camel, ivory and navy with a splash of color and stripes. There was so much going on in cut and details. Lagerfeld rounded, flanged, caped, extended and exposed shoulders on jackets, dresses and tops. Colorful mini geometrics were embroidered on shirtings, lush cable knits on sheer chiffon were present and wonderful shirt looks were displayed in stripes. While there were some sporty looks, there were also some look that gave a unique touch like the square apron-like bodices edged in ruffles. For Fendi furs they were made in with fox and were done in a long, hippie like way in color tinged medallions. Of course the accessories were present in various shapes and sizes and textures that are all made with the essential Fendi touch and quality.
Lagerfeld certainly designed clothes that are luxuriously and quite elegant for day and night all rolled up into one.
What Peter Dundas has done with Pucci is producing fabulous garments that are magnificent and fresh and keeping the Pucci essence present without dissolving any if its signature. For this season sexy, flowing, seductive, beautiful clothes were the protagonists that captured a gypsy like spirit. Dundas was inspired by Brigitte Bardot in the Seventies. Beautiful dresses in hanky hems were divine, sexy short mini dresses were glamorous, black webby knits were seductive, and there were some printed with shorts or trousers that were casual as well as dressy. The final white dress was just beautiful and breathtaking that it was the perfect touch to the end of the show.
Dundas has managed to alter perceptions of what Pucci is, as he varied the motifs that effortlessly work well and look beautiful. He definitely has reestablished the house as it competes with its own vintage market and the results are truly obvious.
I truly and highly recommend this collection for those warm summer days or evenings because you are not only going to look and feel sexy but you are also going to look and feel beautiful.
