Karl’s fall collection for Chanel was dedicated to the theme of ‘globetrotting’. His signature black leather and vinyl thigh-high boots with chains and nails gave his long, lean silhouettes a Sci-Fi twist. ‘Mini’ was the keyword for this show as, among Chanel’s classic tweed ensembles in pale grey, pink, and black and white tones, there was a fantastic series of mini woollen coatdresses with huge pockets and trompe-l’oeil skirts in smooth grey, primary blue and teal. Fluffy futuristic bonnets in sharp tones completed the action girl look. Next came both opaque black outfits with balloon sleeves and flared skirts, and short geometric dresses fit for a Star Wars heroine or a snow princess. It’s a pleasant surprise to see how Lagerfeld continues to blend the Maison’s eternal codes with his own biker aesthetic to give his models an excitingly ‘chic vigilante’ allure.
In his Balmain collection, Olivier Rousteing also picked up on the mini dress trend and took the long-legged style a step further by including hip-high suede boots, which entirely covered the legs.Only this time, Rousteing took us back in time and led us into an imaginary Oriental world, from Byzantine Venice to Turkey, the Middle East and as even far as India. There were rakematiz, damask and brocade fabrics enriched with gold and silver threads, jacquard patterns, shiny silks, and large, falsely precious stones. Ample dhoti pants, thick draped belts and turban-shaped skirts all recalled the splendour of Orientalist painting. Over-sized busts and broad shoulders added to the opulence of this collection, while hinting at the showy power-woman style Rousteing has accustomed us to.
Upcoming star Anthony Vaccarello succeeded in surprising us once again! After proving that the Little Black Dress had not yet said its final word, Vaccarello took up the challenge of showing an almost all-black collection. And yet each piece was as elegantly cut and insinuatingly sexy as the previous one. Every season, the young designer seems to choose a new technical feat – this time, it was the insertion of silver metallic discs that were ‘plaited’ into dresses, skirts and straps. His models were more covered than in previous seasons, as he focused on impeccably cut and ‘preciously made’ wardrobe essentials. His use of leather and contemporary decorative pocket and belt detailing gave his models a distinctive sophisticated air.
As for Elie Saab, elegance as always, was his prior motive.
Daytime wear consisted of ‘strict’, fitted, knee-length dresses and suits in sober tones, navy blue, light purple and black, according to his favourite ‘jolie dame’ style. Several geometrical dresses in a pretty palette of prune, cyan blue and tonic yellow followed, while his long evening dresses were embroidered with delicate lace and sequins.
For Christian Dior, Raf Simons designed a New Look inspired collection: nipped in waists for elegant retro vests, large pantsuits and remarkable classic coats, as well as numerous super-sober bustier dresses. The show’s highlights were the draped shoulders, skirts and bowties, which paid tribute to Christian Dior’s traditional style.
Alber Elbaz’s Lanvin collection was made up of beautiful single pieces: romantic organza blouses, black velvet dresses, lingerie style silk outfits with coloured fur, modern military leather vests and flower/insect printed looks. Although the collection had little coherence, if any, Elbaz clearly chose to design attractive and sellable separates.
Finally, Heidi Slimane’ssecond collection for Saint Laurent was a tribute to the British underground style: leather mini-dresses with fishnet and sequined tights, and biker boots, loads of tartan, ripped lace, pink and leopard fur coats, college girl uniforms and romantic flowery dresses with ‘peasant’ checkered jackets. To sum it up, a more-British-than-British mixture of textures, fabrics and prints!
Louise Kissa