At the Musee Boudelle in Paris, a rainbow of flowers paraded in couture ensembles designed by Alexis Mabille that were the extended expression of his aesthetic and view of haute couture. It had everything from beading to embroidery and intricate pattern making and cutting in the collection. As Mabille continues to evolve in couture, there is always the noticeable gimmick he does every season. This time it was with the humongous flowers on the top of models' heads and the painted faces to match the color of the flower or outfit. This is part of the Mabille charm, though. There are some pieces to pick and choose from and they have some special touches on each one. There is something like this always expected from Mabille. This season one can pick a color. Enjoy.
Giambattista Valli channelled haute couture in a beautiful and dreamy luxurious way. A mixture of stiff and soft fabrics, shine and glitter, and the transparency all and more were perfect ingredients for his collection for this spring. The world of Haute Couture has embraced him as a great couturier that can fulfill any clients dream one way or another. I enjoyed the mixture of evening gowns he offered from the soft chiffon ensemble to the bold ball gowns. The short dresses were a constant parade of perfect garnishing of embroidery and beadwork and I loved the cream jacket with the exaggerated bow with the black patent skirt, which reminded me of Dior's Bar Suit. The Oscars are coming up and his dresses are worth wearing on the red carpet.
Up and away Chanel goes for Spring 2012 with a beautiful collection of a rainbow of blue hues according to Karl Lagerfeld. About 150 different shades of blue! The show took place in the Grand Palais in a setting of the interior of a luxe jet plane that brought back the luxury of flying with an aisle wide enough for a collection that was just wonderfully Chanel. This took five days to set up and the carpet has the little insignias of the double C of the Chanel brand all in shades of blue and when the show was going on, the clouds were floating by outside the windows.
The dresses had pockets at the hips to give a sense of feel and casualness and they were short for day and long for evening. The sleeves were ample and the boatnecklines were exaggerated and stood up, from tweeds and boucle to beading and embroidery all done in a new way and in new materials. The beading was fabulously heavy on some dresses and the peek-a-boo effect on the stockings right below the hem added a subtle dazzling touch to the legs.
At the end Lagerfeld came out of the cockpit to give his walk to the applause of delight.
The entire collection held true to the Chanel traditions and the premiers andpetite mains all did an amazing job in executing fabulous new shapes and silhouettes according to Lagerfeld's vision. And Karl is always ahead coming up with new ideas. Like he said after the show: "No Fifties. No Sixties. No Seventies. Just what I like."
The house of Christian Dior was pretty alive and buzzing with the curiosity of what will be shown for Spring 2012. On Avenue Montaigne on the third floor of the studio, surrounded by the beautiful creamy gray is where the presentation took place. The clothes were definitely much more cleaner, elegant and luxe and had a sense of a saleable quality that will fair well for old and new clients of Dior. At the same time this is the other extreme from the touch of Galliano who created clothes that stimulated any one's imagination as well as the appetite of couture in a grand way which always captivated the world. It has been a year that Galliano was let go of Dior by LVMH.
Bill Gaytten who was Galliano's right hand man from day one and who is the studio director for the house, has done well with this collection compared to last fall when he created looks that looked like a whole bunch of art students cut and pasted pieces of fabric and remnants together. This season details and silhouettes were created that Monsieur Dior himself imagined and were incorporated with some modern flair made in colors such as black, grey, white, beige, lavender, violet and red.
According to Gaytten this collection was the X-ray collection which had some transparency to show the technique and work that goes into the confections. Even though Galliano created a collection similar to this in 2005, this take of Gayttens was pretty as well. However, the collection was a feast of designs that are really beautiful and wearable, maybe with some requests to put a silk slip underneath some of them.
Even though Gaytten is designing the collections for Dior, there is no word yet as to who the designer or creative director will be or if they are still looking.
Overall, this Dior Collection got a great hand of applause and I applause Bill Gaytten for his efforts. Well done!
Donatella Versace said it is time to bring glamour back and that Versace is a Couture House. I often wondered what happened to the couture presentations that we all looked forward to ever since Gianni started to produce it. The clothes always ended up on the red carpet and always made sexy and glamorous statements.
The Iles-de-France was a perfect place to show. Even though fifteen pieces were presented, this was a preview of what will be coming in the future seasons from the atelier of Versace and what it is capable of. These clothes were exceptionally exquisite and held true to the reputation of Versace being a house of glamour, sexiness with workmanship that is brilliant, forward thinking and elegant. Most of the collection has been dipped in sequins, beads and rhinestones and cut close to the body from short to long lengths. Slashes of shiny gold details gave some gowns the perfect touch, emphasizing sensual parts of the female body. Even though these pieces were not easy for the models to move in, it did not matter because the clothes were the stars and the stars will walk down the red carpet on Oscar night!
This time for Spring Christopher Kane made a fun, playful and young collection by using a host of stiff couture fabrics for the wonderful shifts with clever origami folds, and sparkly, embellished ones for playful A-line skirts in pastel pink or mint green. There were some hologram like flower shapes, framed in sequins and added onto skirts and blouses. I was not so crazy about the denim with rhinestone detail and that muddy brown taffeta coat. Other than that Christopher Kane still remains one of my favorite British designers.
A mechanical swan at the Rowes Museum in the Yorkshire Dales and a Cecil Beaton photograph called "Symphony in Silver" dominated Giles Deacon's inspiration that was shown with elegance and flair. Within all the white and silver, there was some spots of red and black in cygnet prints that went on T-shirt to evening dresses. I loved the laser cut silver leather garments with the perfect shine that was delicious and sleek. Giles also showed a wonderful amount of evening gowns that indicated that he has been selling quite a number of couture pieces. They ranged from the ethereal to theatrical. Giles has a way of showing elegance that can go from sporty to glamorous. These clothes will make any woman who feels like an ugly duckling look like a beautiful swan!
Chief Creative Officer Christian Bailey of Burberry Prorsum hit the history books and paid homage to old-fashioned hand craftsmanship in this polished and vibrant collection. It was filled with prints, raffia, chunky bits of mismatched colored wood, woven leather. And the major themes for this season were texture and color.Vibrant colors where mixed with bright jewel tones all done in fabulous genius ways and the textures are a mixture of tufts of raffia, colored wood and nubby crosshatch knits. The coats are pieces of work from trenchcoats to parkas. Bailey said "I love the contradiction between this idea of artisinal hand skills, things that take time to make and digital speed. They can coexist."
Joseph Altuzarra, in only a few seasons has made his mark as a leading designer of his generation. For his collection for spring he was influenced by the minimalist Nineties. Hockey played a factor and you can see it in the graphics of the black and white garments and in the track jackets with leather collars and chiffon inserts. Hawaii was displayed, inspired by the bathing suits and the track suits of the Eighties and Nineties. The lush backdrop of the botanical walls were the perfect touch for this presentation. He is advancing technically with a new knit of five-color stitches, which he teamed with leather details on dresses and tops and a dress he engineered to give the hem a wavelike movement. He trained under Riccardo Tischi and there is no mistake that he is clever in his techniques and engineering skills. For this and many other reasons it is no mistake that he deserves the 2011 CFDA Fund Award!
"Sadko in the Underwater Kingdom" moved Georgina Chapman and Keren Craig to design a stunning collection that made me exhausted from being captivated by their confections. It was a pleasure to see runway presentation rather than an installation which they have shown for the past season because the designs are even more alive with a body in them and one can tell how a dress moves. The dresses were like elegant elements of this wonderful tale and projected the colors and elements of the dreamy underwater world of this tale. Fringe was inspired by jellyfish and there were some exquisite mermaid like silhouettes that were absolutely dreamy. I am a HUGE fan of Marchesa and Georgina and Keren just do an amazing job every season and I am always looking forward to what they will create next. Next meaning a collection presentation before the Oscars. Who will wear their gowns at that time? We'll see. Eventually.
Olivier Theyskens definitely has a theory. That is to add a wonderful special touch of his artistic talent that gave street wear a wonderful creative and truly modern point of view that will build a spring/summer wardrobe. He built on the pretty girl/tomboy dichotomy he set up season one at Theory. There were . There were quite a number of shrunken jackets with misplaced pockets he put under the armpit or cut open in the back. He dressed them down with with jeans worn loose and low on the hips. Many were done in two waists, one high, one low. There were lurex knits trippy jeans, sequined dresses that appeared to glow, and infanta gowns. The street wear in the collection could go day or night shown with ultrahigh heels. This line up proves that Theyskens' Theory truly makes a point for Spring/Summer 2012.
By the way, when you take a look at the video for this collection you will hear commentary. It sounded like they were giving commentary for a shopping network channel. It got so annoying to me that I turned off the volume. You may or may not like it. Just giving you the heads up.
Marc by Marc Jacobs looked more polished, sleeker, and more grown up for spring. I really enjoyed this collection because it did not have too many gimmicks and it was pretty streamlined compared to the past seasons. There was major minimalism going on in silhouette and color. The word Bauhaus appeared in the show notes and so the influence appeared in the collection. A boxy electric orange top was worn over a simple navy shorts, and a fuss-free shift dress and a navy top and green skirt. I enjoyed the skirts with the peplums that went with simple modern tops. It was plain, yet powerful and playful. At first I almost did not want to see this collection because I was getting a bit weary of how gimmicky and trendy it was getting. I am glad I did not miss it.
This Calvin Klein Spring /Summer 2012 collection was extremely exquisite. The slipdress that Calvin Klein put out there in the fashion world in the Nineties represented the minimalism that the designer was known for. Not only was it minimalist but also sexy, sensual and beautiful.
Francisco Costa built a collection around a single concept and the outcome was stunning.
Costa introduced his slipdress in a peachy nude that brought to mind household underpinnings of the Forties. The dresses were made in many versions with darts, layered bralette effects, sheer insets and winding seams that provided subtle decoration. It was so nice to see Costa engage with something so delicate when he often fixates on structure, volume and architectural construction. there were some tailoring interspersed with variations on the classic, satin lapeled tuxedo jacket that were usually worn with matching culottes.
There was a wonderful soft cohesiveness to the clothes which came in shades of pale yellow, hazy lilac, and gunmetal that blended beautifully with the blush tones. Some of the black styles were a bit of a shock yet it was great to see because this season designers were dismissing black from their collection.
Once again this was an extremely exquisite collection and one of my favorite for Spring 2012.
I was impressed with Proenza Schouler. I am always impressed. What Jack McCollough and Lazaro Hernandez have to offer is such a wonderful spring collection full of inspirations that included Fifties car interiors, Googie architecture, and the work of Morris Lapidus, the man behind Miami's Deco crown jewel, the Fontainebleau hotel. The show had wonderful key pieces like spongy, snug cropped sweaters and a cobalt blue A-line skirt in papery eel skin that formed one half of the lineup's best looks which indicated that the collection was to be a serious , sophisticated affair. The precision and expert craftsmanship was brilliant. They sure did not shy from the bad-taste elements like the tiger-print car interiors ad the palette of orange, green and gold that dropped out of fashion in the late Seventies. I loved the play of silhouettes, textures and the mash-up of neon and tropical prints. The talents of these young men that form Proenza Schouler are never out of sync and always have everyone look forward to every collection season after season.
Ralph Lauren offered a very sophisticated and demure spring collection that was inspired by the looks of the Twenties. This was one of the most sophisticated collections for Spring 2012. The day looks of faded floral looks and "vintaged" sweaters were soft in colors, fabrics and silhouette all under cloches. The suits with pants or with shorts were so clean, crisp and polished. When the evening clothes came out I thought they stole the show. I absolutely loved every single piece. I wonder if Lauren was inspired by the wedding gowns he created for his daughter Dylan and daughter-in-law Lauren. He may have had a recollection of the glorious white collection of 10 years ago, which he designed before, but after, 9/11. Either way the beautiful white and silver gowns in satins, floral metallics and crystal encrustations, were quite the stars.
The inspiration board was covered with images of dramatic and weird work of artist Kim Joon, whose large scale, swirl-heavy tattoos make for fascinating and previous viewing. Narciso Rodriguez invoked this work in his collection that the result was absolutely impressive and it exuded such a vitality that it kept my attention. The black top over white pants, that opened the show, had a bold, flapped asymmetric waistband that made a powerful statement. The intensity heightened some more with off beat geometry, stripes, bands of squares going this way and that, hard lines keeping company with gentle curves. Joon brought him to a larger range of Asian references like the traditional silks and kimonos which were cut up into collage pieces. The pale colors and and bold graphics were quite soothing amidst all the overload of prints on the runway this season. The show closing dresses of white and pale silver jacquard were quite gentle. Rodriguez did a beautiful work and the essence of his talent radiated from every piece in this line up.
L'Wren Scott is evolving more as a designer than Mick Jagger's girlfriend. She used a song from the famous rocker's first album with his new band "SuperHeavy", "One Day One Night," as a jumping point for her collection. These clothes definitely are all her.
Scott tied it all together, explaining, "I want women to be able to go straight from day to night in hyper-glamour." The fabrics had more texture than usual and Scott mixed them with great ease. There were metallic brocades and rich embroidery. A red cardigan worn with white cropped pants and the chartreuse version over a striped silk shirts and long jersey skirt were a couple of examples. This L'Wren Scott show was not necessarily a cohesive collection but it sure had a wonderful random selection of silhouettes, colors, fabrics and influential decades. Scott has a very hip fan base that keeps expanding and she basically can afford to design her collections her own way.
Michael Kors said that if he could commute, his new South Beach would be the Singita Lodges in South Africa. He and his husband Lance Le Pere have been there three times. For this spring, Kors brought some of it with him to the runway. He had a lot to offer and the connection with nature with a mixture of modernity showed, inspired in part by Lauren Hutton and Peter Beard. The adventure was all set for in earth tones and easy silhouettes. Some garments were in gauzzy weights or heftier fabrics washed and rumpled for comforts sake, and for more flamboyant moments, floating georgette ponchos and caftans. There were some impressive pieces that refined the rugged. The palette of colors looked drab and the punches of rusts and orangy reds did not give a boost. The zebra prints gave a nice dose of graphic clarity. All in all this was a collection of practical chic with sex appeal and joy.
This was a hell of an exquisite collection. It took my breath away. I remember how Ralph Rucci makes the most wearable collections that have a most couture touch and quality to them yet making them accessible to any woman. The fabrics and the workmanship are truly splendid. There was a subtle approch which includes the plastic insets. The layers had a gentle touch as well and the embroidery and embellishments never overpowered any of the sihouettes. For the most part, insets and dramatic seaming had a light touch. There seemed to be some fun woth some details such as the white longcoat with playful black circles. This collection was pretty strong because of its restraint as well as its execution shown in the gorgeous gowns. Rucci always delivers extraordinary clothes that can make anyone feel abundant, prosperous and elegant.
This season Anna Sui was on trend with the prints and retro look. This collection looked pretty fresh. The inspiration is famed fashion illustrator Antonio Lopez and his time in Paris in the Seventies. What was enjoyable was the Forties vibe featuring the feather chubbies, bow blouses with flouncy skirts, and jumpsuits worn with matching turbans and socks with striped Hush Puppies. The prints were stars and bows, to flowers and fairies, to chickens and rabbits, and graced the clothes to all manners and accessories. Girly looks from lacy tap pants, sheer midriffs, swingy skirts and even a big plastic heart on a chain. This is a collection that was entirely wearable and fun. Why not have fun this coming this spring? Laugh a little! Be fun!
The inspiration was the Baroque style of Dorothy Draper. The ideas of the interior decorator's sensibility was infused into the J.Mendel collection. There was color blocking, printed and paneled dresses that were loosely belted at the waist and featured details such as pleating or revealing vents. Fabulous column gowns, many with sequined embroidery, plunging necklines and high slits for added sex appeal. Of course there were the furs that the house of J.Mendel is known for. Done in mink, goat and alpaca had a cloudlike effect, appearing on small boleros and vests. There were some designs that had no steam such as the dresses with the cutaway hemlines, but despite of this, Mendel designed a collection that turned out great for spring.
Reed Krakoff is one of the most successful creative heads in the industry admired and respected around the world for his contributions at Coach. In the two years that he has gotten into sportswear he has dealt with growing pains that are truly essential to his craft. This season displays a wonderful feminine take by using colors like yellow, orange and nude, and chiffon and lightweight leathers that added a more fluid touch to the lineup. Using cellophane for pleated skirts and panel dresses showed that he had a willingness to experiment. The fresh perspective that he offered on the print trend for the season were his abstract eagle motifs on silk jacquard and leather designs. More wearable clothes were created this time around than in the past and the process of his growth is having Krakoff get more clearer with his message.
Looking forward to seeing what he will come up with for Fall/Winter 2012!
"The Great Gatsby" speaks through Alberta Ferretti who created a wonderful lineup of beautifully executed dresses that were all breathtaking in more ways than one. She is known for her mastery over tulle and chiffon, she reworked the materials in a stunning effect with intricate beading and embroideries on pastel-hued dropwaisted dresses, below the knee or longer, and layered over silk slips, that could double as stand-alone pieces. There were a few cable-knit swearers with subtle silver metallic coating that added a nice sportif element that added to the Gatsby spirit. The dresses in this collection are true gems if you are ecer invited to a "Great Gatsby" party or to any award after-party coming up. Ferretti listened well to the inspiration she received this time around and delivered.
After seeing a whole lot of rich over-the-top prints and loud color combos it is Phillip Lim that calmed things down with his sorbet colors such as ivory peach, pink and yellow with silhouettes that were quite soothing. There were loose blousy razor back tanks and lanky track pants that zipped on the sides that concealed or revealed a stripe. A layering and exploring asymmetric cuts and splicing garments in half displayed some examples of how breezy these garments can be. Kites were the source of his inspiration thus showing a hint of serenity in small doses. I enjoyed the minimalism in this collection and I think many people will too.
