Theyskens' customary parade of S-shaped gowns concludes his 1st collection for Nina Ricci
Comment on article (0)
Week 4 in the show season meant only one thing: that Paris was ready to unfurl herself to a global audience of fashion pilgrims yet again. SHOWstudio brought the city of pleasure and gold to your screens as Penny and our photographer Benjamin Seroussi stormed the Palais Royale, teetered along the left bank and on through the heavenly seraglios of Chanel, Dior and McQueen.
Benjamin Seroussi is a young filmmaker and photographer involved in the production of fashion films and music videos who lives and works in Paris. He started studying film in Paris... [more]
Comment on article (0)
After a total of 28 shows and appointments, it was good to end my week by entering a completely separate universe, which is the best description I have for an Olivier Theyskens show. Presumably answering the critics of the less salable aspects of his work at the late, lamented Rochas, he sent out his trouser and skirt suits first, interspersed with some of the lightest, wispy sheath dresses that would light up the complexion of any starlet (perhaps Reese Witherspoon?). This gossamer fabric was also carried into some interesting, slim trousers that were caught in folds down the leg. The wool that followed was heavier and a bit hard to understand but I read this morning that its swirling, diagonal rib was based on the classic Nina Ricci 'L'air de Temps' bottle.
The hair was particularly great: can you see the little streamers of ostrich feather(?) that were glued to the scalp to emulate the movement of some of the knit fabrics? Or perhaps you're just captivated by the jaunty little beret worn by Condé Nast owner Jonathan Newhouse on the front row, bottom left.
Comment on article (0)
The final sequence returned to Galliano's signature underwear-influenced outerwear (remember Lady Di at the party for the 50th anniversary of the house in a scandalous see-thru frock?) and marked the final destruction of the models' make-up, which had been getting more smeary and disshevelled as the show went on.
Comment on article (0)
The collection itself was vintage Galliano in every sense: Poiret coats, whorls of chiffon gathered into rosettes or in great layered tiers. The models came out in pairs, performing little Vaudville acts at strategic points around the room, in front of little 'tableau' backdrops.
Comment on article (0)
Galliano concluded a rather stellar design season by throwing his version of a 19th century French fete. Amid a glorious set full of bric-a-brac, haystacks and potatoes, men cavorted with dogs, lesbian couples sang songs and aging brides posed for photos.
Comment on article (0)
A strong palette -particulary well expressed in the orange bags- is what you might expect from a former designer at Marni and three times Lego champion (yes, honestly
Comment on article (0)
Now this isn't a sight you often see: the Tuilleries tents without their 'black-out' curtains. The bright daylight was presumably to signify the arrival of a new head designer at Chlo=C3=AB, And Paolo Melim Andersson. At 34, he's as young as the spirit of the French brand he's been drafted in to breathe life into and though hailing from Sweden, he was educated in London: at St Martins and then the RCA.
Comment on article (0)
As well as an A/W collection featuring lots of pretty, light broiderie Anglaise shirts, shirt dresses with nipped in waists and some great silver suiting, Boudicca's impressive Couture was also on display.
Comment on article (1)
The date of Elizabeth How's execution, seemingly scratched into mid air, marked the close of the show. Please excuse the rude ingrates getting up to leave before the designer even came out to take a bow, but amid the darkness you might get some sense of the clothes...
Comment on article (0)
Familiar soundtrack. Isn't that the one John Gosling have us for Kate Moss's Moving Fashion film? Word was that Bobby Gillespie had written an exclusive track too.
Comment on article (0)
The focus of tonight's extravaganza in Paris's outer limits was the film McQueen had directed, which was projected onto the facets of an inverted pyramid, which hung over a red pentagram traced on the gravelly floor below, upon which the models walked. This opening sequence relates to the theme of the collection: the Salem witches. In a stroke of extraordinary coincidence -given his taste for things dark and dramatic- McQueen's genealogist mother has managed to trace a connection between McQueen and three of the women hung as witches in Salem. His Autumn/Winter show was dedicated to one of them, Elizabeth How. Guests were given copies of his family tree and of her death warrant on arrival.
Comment on article (0)
It's a good number of years since Martine Sitbon showed a collection. Having lost the right to present under her own name, she billed tonight under the moniker 'Rue du Mail'. Such is the affection in which she is held in the industry, there was an all star turn out with Paolo Roversi, Richard Burbridge, both M/Ms -complete with small child- and the stylist's favourite stylist Melanie Ward in the audience. Here's the walk through!
Comment on article (0)
There were lots of curiously sexy Peruvian hats too.
Comment on article (0)
I think the PR possibly noticed that there were tears in my eyes after watching the video of JPG's 'brigadoon' collection. I had to explain that all that tartan and bagpipes is too much for a sentimental Scot abroad and it was no criticism of the collection! There has been much talk of this 'fashion moment' during the week: model Coco Rocha put on an impressive Irish dancing spectacle to open the show and high-kicked her way through 'Amazing Grace' into the history books.
Comment on article (1)
Vienna-based jeweller Florian Ladstaetter opened his atmospheric 'Fleurs du Mal' installation on Rue de Montpensier today, launching his new book.
Comment on article (0)
Very considerate of Balenciaga's shoe designer Pierre Hardy to fix a guard to prevent the ecclectic campus girl from skinning her heels!
Comment on article (1)
I've read reviews of this collection that say it's the most wearable Nicolas Ghesquiere has ever done. So, naturally, I was keen to rush down to the showroom and find out what all the fuss was over global ecclecticism, campus bricolage and samurai jackets with riding jackets, scarf dresses and jodhpurs. It's quite an eyeful!
Comment on article (0)
Turns out they weren't camelias: they were snow clouds and the front row weren't looking too thrilled as they picked paper dandruff out their minks either!
Comment on article (0)
Comment on article (0)
In contrast to my peers who thought it hard and crass, I rather liked Chanel. Especially the opening sequence of long blanket coats, this fun skating outfit (much of the knitwear was influenced by late 60s ski chic) and some lovely full-length, backless wool numbers that looked hard to walk in.
Comment on article (1)
Stefano Pilati was assiduous about how he intended tonight's extremely restrained A/W collection to be understood. A detailed memo issued to members of the press explained that the roomy, architectonic forms comprising 'work in black' focused on "aesceticism". Now, that's not a word used in Fashion very often. I am thoroughly intrigued to imagine how Pilati's research into how 'clothing and bodies move together' brought him to the Aescetic Movement (who believed -in the late nineteenth century- that denial of comfort and pleasure would bring moral purity and so slept on wooden boards and wore hair shirts). It may have been a typo in the notes, but it's a wonderful thought! ...The big revolution in the clothes was the abandonment of ornamentation, save for some beautiful silver patterns woven into the knitwear, or a pattern of Paris, which apparently featured in the weave of a coat. In comparison with the prints and embellishment of S/S, all focus was on fabrics and cut, most notably on 'double layer constructions', where the inner shell gripped the body, whilst the outer cocoon stood proud of the body. This development is political as well as aesthetic, apparently. Seeing it as a contemporary take on luxury's role in society, Pilati intends his clothes NOT to contrast against surrounding poverty and intends his forays into faux fabrics to mark ostentation as 'outdated'.
Comment on article (1)
The upper rooms of the Pompidou Centre are filling up and what we all anticipate will be one of -if not the- highlight of the week is about to begin. The couture chairs are bathed in pale gold light, as opposed to the customary rose hue. Is this a clue?
Comment on article (0)
There are boutiques galore in Paris and doubtless they each have their own art director to coordinate their windows. You'd have to go far to beat Astier de Villatte on Rue Saint Honore, however, whose knitted displays are consistently the best thing you'll see on that chicest of shopping parades. A woolen ham to go with that crocheted nicoise, monsieur? Bon Appetit!
Comment on article (1)
Bernhard's collection is based on 'rich hippies in Amsterdam'. (I do love a bit of radical chic!) Here he is, posing in his showroom next to his court shoes with faux Chanel chains.
Comment on article (0)
The results of the 'Can You Help?' project have found a home as part of Colette's 10th issue display. See the animated graphic on the screen (bottom left) alongside reworkings of other issues by creatives including Peter Philips, Fiona Banner and Alexis Teplin.
Comment on article (0)
Pierre Hardy's 'Speed' heels caught the eye of every woman in their busy showroom in the 10th arrondisement! The press team were bathing in the glory of their book launch last night: a chic retrospective entitled 'Success is a Job in Paris'. Indeed!
Comment on article (1)
For the finale, this trio of skirts opened up, seemingly of their own volition, and fluttered as if for the photographers' delight.
Comment on article (1)
Hussein's show last night owed much to his partnership with Swarovski, apparently. There pod heads were lit using illuminated crystals. Meanwhile, the digital glimmer of the opening shift dress -pictured in one of Benjamin's pics earlier- was thanks to an LCD screen shining through a layer of crystals.
Comment on article (0)
In a crowd-pleasing show that further developed the kinetic garments showcased in his S/S presentation, Hussein Chalayan revealed 'Airborne': a flight-based collection that reworked his early plane dress to create this animated version.
Comment on article (0)
Riccardo Tisci won over his critics tonight with an elegant collection of high-waisted, wide-legged trousers, military jackets and dresses with trains (remember the sailors and mermaids from Couture?). Everyone was talking about Jessica Stam's jumpsuit...
Comment on article (0)
Watch M/M (Paris) watch the satin walkthrough at Sophia Kokosalaki. They're everywhere!
Comment on article (0)
Once each model had traversed the endless runway, they doubled back into a 'pitstop' prep area and then joined a visible queue to start all over again. As diverting as this was it gave the audience ample time to study the artfully draped clothes.
Comment on article (0)
It's an idea that was first popularised by Isaac Mitzrai: cordon off one half of the catwalk space with a screen, through which the audience can view the show's preparation. You see here the clothesrails, the hair and make-up section and the 'backstage' photographers.
Comment on article (0)
I appreciate this isn't what you have in mind when the tanned master of Roman Couture's name is invoked. But remember, this was our first foray into Val and that means 'miles away' in terms of tickets or pictures for you. Sadly, that equals no shots of immaculate satin eveningwear. Nor of tears in Val's eyes -apparently this is to be his last show? So I thought you might like to see the fur protesters instead.
Comment on article (0)
Collections designed under the 'Comme' umbrella always have an intriguing theme. Where last night's CDG A/W was 'curiosity' (of the kind experienced by pubescent girls methinks), Tao's was 'magnetic body'. I've tried hard to think how that relates to the pink, fluro frills and sportswear that made up the collection. Altogether, the nylon jogging bottoms, clumpy sports shoes, polo shirts and stripey knitted romper suits looked more like a Japanese schoolgirl's interpretation of 'mall-rat' style. And particularly in the opening, frilly sequence, it looked great!
Comment on article (0)
What this rather dismal film of the final walk through of Rei Kawakubo's A/W show this evening can't begin to communicate is the wonderful, unexpected palette of the collection. From sugar pink stretchy nylon and plastic, to burnt orange velvet or even the sky blue eyeshadow, the wonky colours indicated that this was no straight-forward show. The Minnie Mouse and Flopsy Bunny ears worn by the models and their clingy faux-broiderie Anglaise skirts may have seemed sweet at first, but what about the rather unsettling stuffed, applique bows and swollen dots on a slip dress? Or how about a top with padded hands encircling the torso as if someone had their mitts all over you? With these brilliant, Surreal touches Kawakubo said more about desire and Modern femininity than anything that came of a whole week of predatory, 'strong' women in Milan.
Comment on article (4)
I've counted: today must be the 10th Dior R-T-W show I've attended. Previous shows have always felt a bit like suspension of disbelief for me: the clothes never appealed directly, so instead they had to be viewed through the filter of who one would imagine WOULD desire or wear them. Today the spectacle of such worked, ambitious, glamorous eveningwear did away with the charade of trying to relate Dior to a youth market. These outfits were as near as dammit to the Couture and so much the better for it.
Comment on article (0)
The middle section of Watanabe's (slickly choreographed) S/S show was a bit of a nostalgia trip for us 30-somethings, as its chopped up cardigans, white shirts and flannel (?) dresses looked like what we wore to school in the 80s when being 'creative' with uniform rules. We would have been suspended, however, for its biker jackets and stiff, leather trenches... Vivienne Westwood, meanwhile, sent out a collection based on Wilma Flintstone! Altogether now: yabadabadoo!
Comment on article (0)
Also last night, Yohji Yamamoto dabbled in technology, showing a sequence of crinolines with rotating skirts. It was a huge critical risk, coming so soon after Hussein Chalayan's animatronic collection last season, but you have to watch that kind of talk as the minute you think you've identified 'who did it first', you usually end up finding out that Margiela did it seasons previously!
Comment on article (0)
After a good few more commercially oriented collections, Viktor & Rolf gave the audience one of their more challenging, concept-based shows. These peculiar cages you saw around the models at Viktor & Rolf last night were individual lighting rigs, complete with soundsystems. Each model could parade around with her own soundtrack as if she was in her own universe. And but for the trains and sleeves attached to the metal frames giving it an overarching 'fan' appearance, you might say that the collection was quite disparate too. It was a great idea but very diverting: perhaps this one will be easier to understand in the showroom.
Comment on article (2)
What is extraordinary about Jun Takahashi is how different each Undercover collection looks from one season to another. Not one glimmer of the luxe, sexy glamour of S/S was in evidence at his show at the Ecole des Beaux Arts tonight. Instead he sent out this quiet collection of principally knitwear. Yes, everyone's tried for the woolen micro shorts suit, but how many of them sag at the ass like a sodden 1920s bathing suit? Undercover shows may be art directed within an inch of their conceptual lives to make a singular artistic statement, but if you pick the collections apart, the clothes have a lovely, easy fit and there are always striking, highly individual moments. I particularly liked, for instance, the argyll quilted silver housecoat and the final -hand-crafted?- feather jackets were pure Takahashi magic.
Comment on article (0)
I hope to goodness that Benjamin's got better pictures, as the combination of low lighting and second row's played havoc with mine! The collection was a progression -if a simplication- of Spring/Summer. Concentrating mainly on the catsuits (with fluro tights) and the tailoring, Margiela built up a more extreme silhouette with fin-like shoulders befitting Joan Crawford in Mildred Pierce. One notable development was that the house are now using models, rather than the street cast faces of yore. What you are seeing here is the final walk through, where members of the atelier accompany mannequins also wearing a version of the Maison's trademark Blouse Blanche, cut to reflect the season's silhouette.
Comment on article (1)
It's only us Brits that are being so vulgar as to actually EAT the chocolate invitation to the Margiela show. The Telegraph's Hilary Alexander eggs us all on
Comment on article (1)
The excitement is mounting, our Kiki’s been on the phone all week with the PRs and the hotel is finally booked. The approach of Week 4 in the show season can only mean one thing; that Paris is ready to unfurl herself to a global audience of fashion pilgrims yet again. Tomorrow let SHOWstudio bring the city of pleasure and gold to your screens as Penny and photographer/filmmaker Benjamin Seroussi get ready to storm the Palais Royale, teeter along the left bank and on through the heavenly seraglios of Chanel, Dior and McQueen.
Comment on article (0)
