Comme des Garçons Spring 2011:” y 6 mas |
- Comme des Garçons Spring 2011:
- Junya Wantanabe Spring 2011: The Oddity of Breton Sailors
- Haider Ackermann Spring 2011: Bold Colors Add a New Dimension
- Cacharel Spring 2011: From Dawn to Dusk
- Azzaro Spring 2011: Vanessa Seward Does Pretty, Pretty Perfectly
- Céline Spring 2011: Grown-Up Clothes for Grown-Up…Girls
- Love is Blind. We are not. PR Control Freak?
| Comme des Garçons Spring 2011: Posted: 04 Oct 2010 06:00 AM PDT
PARIS–Halle Freyssenit, an old train freight located behind the Gare Austerlitz in Paris' 13th arrondissement, is a popular destination this season for Paris shows. But only a handful were invited to the depot, an empty storage area on the other side near the rail tracks, late Saturday afternoon for Comme des Garçons. Inside were four sets of benches set in a square and two large white lights. Eschewing conventional locations to stage its shows has always been the brand's trademark of independence. The audience members attending a Comme des Garçons presentation expect deliverance from yet another conventional fashion show. Whether or not they actual like what they see depends on one’s personal taste. But without fail, a CDG show always provokes a thoughtful debate. When the first model emerged from the back, wearing a shiny short black dress belted at the waist and a shawl made of the front part of an upside down black trench, the notion of the integrity of a specific garment was put into question. Is part of a coat another coat, or is it a scarf? This idea of disintegration became more apparent from the merging of two coats in two fabrics into one coat, albeit all upside down with sleeves hanging towards the floor. The recombined garment seemed genderless and we could not classify it in our current system of jackets, coats, skirts, or pants. I kept thinking of the idea of an atom smashing, like the recent advances with the Large Hadron Collider at CERN (European Organization for Nuclear Research), as I watch a model wearing a combination of two jackets with multiple lapels,and white shirts mixed with a black skirt, white corset and t-shirt. There sure is a great deal of excess material in these outfits. Somehow, the feel of this weight weakened the show's central message. Towards the end of the show, the models came out wearing white simple double-breasted cotton skirt-suits with a black band inserted through the jackets. One version held the model's arm to her side. On another, the band completely enveloped the entire chest rendering model's arms immobile. It seemed Ms. Kawakubo was commenting on how restricting the fashion system can be. In the end, as if to play a joke, three sets of models came out wearing identical black dresses walking in synchrony, attached by zippers and their hair twisted into one long connected knot. Is it a merged outfit or a coming together of two people? While this may not be another groundbreaking collection from Ms. Kawakubo, her fans need not fear as they have plenty of clothes to choose from. Surely the white double-breasted asymmetrical jackets and those white skirt suits–without the constriction bands–will be a hit at retail come fall.     
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| Junya Wantanabe Spring 2011: The Oddity of Breton Sailors Posted: 03 Oct 2010 12:00 PM PDT
PARIS–Very often, we expect seasoned conceptual and intellectual fashion designers to deliver puzzling shows. Ones bring us to exhilaration about the possibilities of fashion as art and as an influencer in broader culture. Early on Saturday morning, we experienced such a show. With a break of sun from the previous evening's downpour, a crowd gathered at the coffee shop adjacent to the Dries van Noten store for a first dose of coffee and croissant, before proceeding next door to the Junya Watanabe show in the small salon of the Beaux-Arts. Known for his design innovation and extensive use of new fabrics, Mr. Watanabe opened the show with a simple elbow sleeve double-breasted belted coat with stripes falling from the sides, and small striped short pants. There was also a long striped dress, worn with shorter pants. And trench coats, like one in sheer nylon, came in all possible permutations and proportions. These formed the basic thrust of a sea side collection. The clothes Mr. Watanabe showed were perhaps his most commercial in a few seasons. His skill is in taking a generic garment and–with a touch of humor–draping the garment to different proportions. This time, he worked mainly in cotton rather than technical materials. A long asymmetrical dress had an uneven stripe pattern, forming an optical illusion; a tank dress with a sheer chiffon bottom had double overlapping collars; the large collar cotton sailor shirt showed Mr. Watanabe's trademark playfulness. Another outstanding look was the sleeveless sailor shirt with a zig zag stripe sheer nylon overlay and navy pants. As was a khaki linen flare trench and striped pants. White sheer veils covered the models' faces. Their heads were topped with colored wigs parted to the side in orange, yellow or red, some worn under hats. Under the sheer veil, the models were biting onto some kind of dental grasp, although it was difficult to discern its function or purpose. It had an effect of making these models looked doll-like. That was perhaps the designer’s connection to Japanese street fashion.     
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| Haider Ackermann Spring 2011: Bold Colors Add a New Dimension Posted: 03 Oct 2010 11:00 AM PDT
A little brother to Ann Demeulemesteer, he has been steadily making a name for himself for his mastering of dark, deconstructed clothes, and a trademark use of leather and silk. This season, he remained true to himself, but proved a definite evolution–he added colors to his usually somber palette. The clothes, bearing a strong Japanese influence, started with black, cropped leather jackets and halter necks, moving on to grey striped ensembles, followed by a bold use of red and black, and royal blue. "The color is the real novelty here, what I'm trying to say is that 'my woman' is ready to come out of the shadow," Haider told us minutes after the show. And indeed, the shades contrasted finely with the gothic, layered silhouettes. We particularly enjoyed the long skirts, often split at the front, and worn over matching jeans. As for the Kimono look, he borrowed obvious elements such as wrap-over jackets with large belts, which he gave a sexier touch, by, for example, making those backless. Although the source of influence is no novelty (Galliano for Dior, amongst many others), Haider successfully injected his own tenebrous touch into it. As for the choice of music–a sound of storm, followed by an acapella “Love Me Tender,” we get the message: Yes Haider, we'll love you tenderly, whatever the color palette. **All photos by Bruno Albizatti.
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| Cacharel Spring 2011: From Dawn to Dusk Posted: 03 Oct 2010 10:00 AM PDT
Soft rays of light filled the room to the beats of “Chérie Chérie,” by electro band Suicide. In what resembled an illuminated morning in July, the models wore oversized flesh ensembles, three quarter trousers, and long dresses. These elongated, flowy cuts–paired with round sunglasses–felt like a Parisian take on Annie Hall's impeccable ’70s chic. By midday, the demoiselles, like the light, became bolder: shorter cuts, bolder pinks flirting with neon tones. Slowly, bright limes, oranges and lemon tones infiltrated the stage. By the afternoon, the sun rays slowly turned into a warmer orange, and spots of colors onto dresses filled the room: these referenced kimono folds and 1940s dresses. It seemed to suggest that, as the night approaches, Mademoiselle Cacharel knows how to be a lady too. And by the evening, the room was ruby-tinted, and filled with models–shortly followed by Cedric Charlier, who blew kisses at the crowd as the sun was setting. Today, Charlier is celebrating his first anniversary at Cacharel–after working for Céline and Lanvin, he was trusted to bring back to the French house its initial light: well-to-do femininity. "I think he was an excellent choice," said Cacharel's head of communication Laura Guillermin in an interview earlier this year, describing his designs as "structural, subtle, architectural pieces that elegantly accompany the movement." Was it a success? Sarah Lerfel, creative director of Colette, sat front row and clapped enthusiastically. In French code language, this means yes.                
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| Azzaro Spring 2011: Vanessa Seward Does Pretty, Pretty Perfectly Posted: 03 Oct 2010 09:00 AM PDT
However, today at Azzaro Spring 2011, I felt more than a twinge of “I want to buy that” excitement. Instead of a traditional runway, designer Vanessa Seward holds several “mini shows” in her Paris boutique and atelier. There was a group of ten editors/buyers, and Vanessa sat in on the show. There were only two models, who alternated looks. In between each look, one of Seward’s assistants would hold up other pieces that complemented what was just modeled. (Usually, the same look in a different length or colorway.) The music, a Parisian mix, was produced by Vanessa’s husband. The models, both brunettes, both classically beautiful, were a lovely diversion from the hollowed-eyed waifs we tend to see on the runway. And the clothes? The clothes were simply lovely. Seward first showed her capsule collection of more affordable wares, which included some fantastic bathing suits and a leather romper that any girl would be happy to have in her closet. (It was the first season Seward has worked with leather.) Then came the couture-quality pieces. Mostly short and relaxed in shape, Seward presented plenty of scalloped edges and puffed sleeves. A particular favorite was the navy “Dinosaur” dress, named after the row of scallops running down the spine of the frock. I was also smitten with one of the the final looks, a sparkly silver bateau top with a white tiered ruffle skirt, brought together by a black bow. This could have been tarty. Yet Seward’s touch turned it sweet. Much like the rest of the collection. I left Azzaro feeling refreshed, revived. The best kind of fashion gives you life.                   
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| Céline Spring 2011: Grown-Up Clothes for Grown-Up…Girls Posted: 03 Oct 2010 08:34 AM PDT
I’m happy to report that I arrived as they began to rip the plastic off of the runway. (Which, by the way, seemed to be made out of some sort of cork.) The standing spots were terrible, so I plopped myself on the edge of the pit. It was then and there that I decided, other than A-A-4, you can’t get much better than sitting with the photogs. I watched designer Phoebe Philo‘s women gingerly walk down the runway in low-slung, wide-legged pants, jumpsuits in everything from denim to leather (also low-slung), and several shells with squared shoulders that looked as though they were made of a mix of cotton and neoprene. The models wore their hair in low ponytails, their crowns teased to perfection. My favorite piece was a collarless waist-length jacket with a clean closure–no buttons. The sleeves were almost cape-like, creating what can only be described as little wings. It was grown-up perfection. The interesting thing about Philo though, is that while she makes decidedly grown-up clothes, the women who wear them are very girly, childish even, about their love for her. It was like a Céline costume party as I left the venue–box bags here, the more affordable tote bags there. Don’t get me wrong: if I had head-to-toe Celine, I would have been wearing it, too. I only own one Céline item–a vintage monogrammed clutch circa 1970s. And I sadly left it at home. To me, Philo is the closest thing my generation will have to Coco Chanel. In the same way we covet our Chanel bags and tweed jackets today, our daughters will be coveting Philo’s leather t-shirts and wide-leg pants twenty, thirty, forty years from now.       
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| Love is Blind. We are not. PR Control Freak? Posted: 03 Oct 2010 08:00 AM PDT
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Fashionista contributor Long Nguyen is the co-founder/style director of 
Fashionista contributor Long Nguyen is the co-founder/style director of 
PARIS–
PARIS–Some shows display clothes, others tell an entire story. Cacharel certainly achieved the latter: its show at the Palais de Tokyo took us from dawn to dusk, on a warm summer day.
PARIS–At this point in Fashion Month, all I want, more than anything else, is to feel giddy about some clothes. I’ve spent the last three weeks nitpicking and dissecting collections, and while there have been plenty of technically superb shows this season, there haven’t been a ton where I wanted things for myself. (Exceptions include: 
PARIS–I was not supposed to attend 
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