Balmain, Chloe, Wunderkind, Christian Dior
Paris was definitely feeling the Seventies vibe this season, knee length skirts cut on the bias, high waists and ascot ties a la 9-5 all in a rich fall palette brought a softer folksy vibe to these collections. No doubt a counter reaction to the severity of the previous seasons. Black was still prevalent but the look was softer, less eighties and more refined.
Where Sarah (see below) noticed a more minimalistic approach on the runways I saw clothing filled with romance and wordly story's of old. Neither of us are wrong. It is amusing to view the collections and try and narrow it down to your four favourite choices (as I have the other ladies and myself do for each cities collections) the trends you draw from the collections come from what you are inherently drawn towards, whether you're aware of it or not.
The Seventies vibe took a polished note at Chloe, where Bria (third post down) saw drab I saw a richness throughout the varying shades of neutrals that played with texture and shape. This somewhat comes from a nostalgia for me, the Chloe collection presented a palette and style that my mother wore a lot when I was young.The high waists, leather details and camel coats were undeniably chic. I too adored the soft but styled Seventies hair.
Both Wunderkind and Balmain worked with a deep rooted folksy eclecticism resulting in two quite different takes on the apparent trend. Balmain worked with super rich jewel tones and metallics, the looks were layered seemingly effortlessly with tones and textures, different but blending perfectly. It was so wearable that I literally want to wear right now. Wunderkind took a far more bohemian approach mixing it up even more resulting in a less polished look but really quite fantastic. Mixing leather and gauzy fabrics in prints, with great 'blanket style' coats and even more amazing hats (you know I love it when we see some fantastic millinery on the runway) The entire look in one word? Nomadic.
Christian Dior was one of my favourites, going through the pictures I was initially amused, but this soon turned to gasps, literally catching my breath as I went from image to image. Galliano created a hybrid woman. It was elegant 18th Century Equestrian meets 18th Century western trollop! Fine equestrian inspired tailoring mixed with lingerie inspired georgette dresses and I found myself wanting to go ride a horse in my drawers.. go figure. But beautiful and apparently literally breathtaking nonetheless!
Honourable mentions go to Anne Valérie Hash's almost confectionery inspired collection, the highlight of which was the painted brogues, brogues & oxfords clearly are still big for fall. Cacharel had some lovely girlish almost school girl inspired looks with cute signature prints. Kenzo fully embraced the seventies folk vibe with layered looks and the socks at Jean Paul Gaultier were to die for!
This post could obviously not go by without a mention of Alexander McQueen, a few of us (the other 2 entirely unprompted I assure you) have each written our own perspective on his final collection as the designer for his label (it has been announced the label will continue without him which I am ambivalent and joyful about all at the same time)
This small collection literally made me want to cry. As Carly mentions later on, take away the drama and showmanship of a lot of runways and you're not always left a lot. Strip Alexander McQueen's creations down to just that – his creations, they become all the more beautiful. It makes one wonder if some of his true artistry was lost in his previous (still amazing) shows. Inspired by medieval sculpture and architecture, the angels and demons Lee spoke about via his Twitter were here, and one can truly believe this collection was everything he intended it to be.
I urge you to dash over to Style.com, or whatever fashion image database you prefer, and take in each outfit one by one, pore over the details from the carefully designed fabrics, to the silhouettes and structure to the beading. These are works of arts just as much as the art they were inspired by and in Alexander McQueen we have lost a true artist.
Pictured (left to right): Miu Miu, Stella McCartney, Valentino, Chloé
Fashion Week confirmed that minimalism is creeping into the fashion
scene again. At first glance, it comes across as boring or
unimaginative, but, then again, it is important to remember that less
can definitely be more. Every great designer has a purpose for every
piece created, so, instead of assuming a snooze fest, realize these
designs as a breather from the excitement of loud and outrageous.
Besides, if anyone can do minimalism right, Paris can.
With simpler designs and fewer patterned prints, the minimalistic
feel still involves creativity and high-class taste. There is room for
bright colors and interesting textures if the designs are simpler, but
the key is in editing unneeded details. Because most collections are
rarely entirely minimalistic (which would not be half-bad by the way),
designers often include a few, less-dramatic versions of the intended
overall vibe, which means there is a touch of minimalism in practically
every collection this season.
Miu Miu, Stella McCartney, Valentino, and Chloé all included at
least one piece that represented minimalism at its best. For example,
Miu Miu created an always-welcome little black dress with buttons down
the front. Stella McCartney used a bright pink fabric to make a simple
yet elegant evening dress. Valentino experimented with big, ruffled
edges in the majority of the collection but also presented a subdued
version of these details in a stark white dress with curvy edges.
Chloé, on the other hand, created several outfits that were
refreshingly simple and added subtle details like quilted patterns and
While it was a little unexpected from Paris, minimalism reigned.
By Sarah Corley
Chanel, Chloe, Elie Saab, Alexander McQueen
The Chloé show
was very heavy handed with beige, and some shades unfortunately reminded me of
those tan refrigerators from the ‘70s. The show took some other cues from the ‘70s,
including high waisted pants, blouses with built in scarves and mules. I kept
waiting for something to really pop out at me, but the clothes seemed a bit
drab. Some of the fittings also looked awkward, which was disappointing. I did
like the Farrah Fawcett inspired hair and bronzer on the models – that’s ‘70s
style I can support!
Elie Saab is known for dressing A-List celebrities in the
most beautiful gowns for the red carpet, so I was very excited for their Paris
show. The clothes did not disappoint – full of interesting texture, the pieces
were intricate, yet extremely wearable and chic. Black, fur and jewel tones
were in again, but Elie Saab had something a lot of shows did not: superb fit!
All of the pieces were cut at just the right place and they were all extremely
flattering. Wispy, fairytale gowns ended the show on a whimsical yet supremely
The Chanel models walked around mountains of “snice” (that’s
snow and ice) for their runway presentation. Fur was everywhere, from collars
to boots to pants and skirts, and though I’m not the biggest fan of fur, the
models rocked it. As always, Chanel’s silhouettes were perfectly tailored. The
cropped jacket and A-line skirt combination was especially flattering. I wasn’t
as sold on the tweed jumpsuits or strange sock-like leg coverings, but the show
delivered Chanel’s chicness while still being fun.
I was a bit nervous for Alexander McQueen’s show because I
worried that the clothes wouldn’t come out right without the styling of Mr.
McQueen, but I was completely blown away. The show was supremely dramatic, with
rich, vibrant colors, elaborate jewels and avant-garde headdresses. The look
was full-on fantasy and it really did transport me to another world. I loved
the theatrical, exaggerated silhouettes and extremely vivid animal-like prints.
Overall, the show was really exquisite and it made me so sad that we won’t get
to see anything else by Alexander Mcqueen.
Top; Alexander McQueen, Viktor & Rolf. Bottom; Gareth Pugh, Christian Dior.
Paris, you tease! There are far too many of my favorite designers who
show in Paris; McQueen (RIP), Chanel, Dior, Elie Saab, Gareth Pugh,
Hussein Chalayan, to name but a handful. I love Paris for the sheer
ingenuity, and style. Where I feel London is more about new talent, and
fresh ideas, Paris is about showing those seasoned designers, showing
why they are as fabulous as they are.
I was so excited to the see the last, true Alexander McQueen
collection, as I am sure most were. Presented in a quaint little
presentation room, with only a selection of handpicked special guest,
and his staff, this presentation was more a memorial and remembrance
to Lee, than a show to wow and awe people. And it was beautiful, beyond
anything I could have imagined. His collection had a very
medieval/Renaissance feel to it. Rich fabrics, rich colours, rich
silhouettes. For once, there was no drama, just sheer beauty. And that
is all the clothes needed. Most likely, this is not how McQueen
intended his collection to be shown but a sombre final show.
And then there was Viktor & Rolf. And this catwalk show was
ingenious. The designers took to the catwalk with model Maggie Rizer,
and proceeded to dress her in nine (!) layers of crystal encrusted
dresses. Suddenly a model appeared wearing the entire (!!) collection.
Viktor & Rolf began to undress her, one layer at a time, redressing
the new generation of models, to begin their strut down the catwalk.
The collection was all black, but full of texture and eyecatching
silhouettes, shapes and it was everything you could expect from
V&R. Insanely beautiful.
Pugh, Pugh, Pugh…I love you. I love you even more after seeing
that reality TV show you were in, and how DSquared told you not to get
in to fashion. Look at you now, you wonderful, genius!
to his older collections, this entire collection seemed very very
wearable…if you liked leather. Instead of having to dissect an outfit
to fin wearable components, it was apparent, that most, if not all, of
this pieces could be worn. Pughs collection was in his trademark black,
the silhouette was soft, feminine and chic. Pugh wanted his women to be
strong, and powerful, and thus accessorised with men, wearing very
romantic clothes, making them seem vulnerable in comparison to the
women, in top-to-toe leathers, and structured pieces.
The Christian Dior RTW collection, had elements of the Couture
Equestrian collection. It was just beautiful; something of dreams. The
marriage between soft, sheer silks, and stiff wools, was beautiful, and
romantic. Pastel colours, mixed with rich reds, and natural tones, made
the collection feel very Victorian manor house. I want it all!
By Carly Doogan