Things kicked off in Paris with one look at current fashion darling, Hakaan. Not only was the leather-accented minimalist collection fabulous, model watchers everywhere were relieved by the arrival of Freja Beha on the fashion scene, after a much discussed absence from New York and Milan. The show is always notable for bringing out the top models, and didn't falter there this season either, bringing out Natalia, Mariacarla and Karolina in addition to their successors in Natasha, Anja, and Freja. Happy to see Caroline repeating at Hakaan: you get the sense that nabbing even one look in this show is an achievement deserving of hearty applause.
No more shows were to be had on Tuesday, but Wednesday added two more, beginning with a single look at Rochas. It seems that I really was quick to judge the death of minimalism: it popped up magnanimously here as well. Very simplistic the clothes were, and it seemed to me that Marco Zanini was drawing subtly from the Cossacks at some turns. This influence was most obvious in the caps donned by many of the models, but you'll also notice the elasticized cuffs on Caroline's trousers. Patterns on looks walked by Siri Tollerod and Sara Blomqvist also seemed to hearken back to a traditional Russian source. You might almost interpret the collection as a depiction of a culture that have embraced modernity, but still kept close essences of its past.
At Rue du Mail, Caroline had two looks. Early on, the collection made much use of colour blocking, which was all well and good, but I was particularly fascinated by the prints embellishing the second half of the show. It was akin in colour and pattern to the wings of butterflies, especially monarchs (which we might remember, were also a favorite at Alexander McQueen last season.
Thursday saw a prime cut of shows for The Brasch, with the first being at illustrious house of Balenciaga. You can't tell so much from Caroline's one look here, which is quite simple in it's colour palette, but the real draw at Nicholas Ghesquiere's show were the elaborately detailed accessories and shoes. Exotic prints were realized on white skirts and dresses beneath leather jackets, and later appeared on clutches and in the detailing on the shoes as well (I've got my eye on the white and cobalt ones sported by Karmen Pedaru, in particular). I could not be more pleased that Caroline booked Balenciaga's show, it is a wonderfully creative house, and always a staple on my fashion calendar (A few classmates and myself hold Nicholas Ghesquiere entirely responsible for us being late to the Museum of Decorative Arts. Thankfully, our professor was not dismayed by this excuse.).
Another stellar creator is Rick Owens, master of the draped leather jacket, and oh so many fashionable hearts. The bright red lip on the models stood out excellently against the notoriously chromatic colours of Owens' collection, and capes, hoods, and elbow-skimming gloves (Which are most certainly trending, by the way. How do we say that on Twitter? #elbow-skimming gloves?). This season was a little edgier than the ethereal deep-sea aliens we saw for spring, but no less wonderful for the fact.
At Nina Ricci, Peter Copping gave us a heavy dose of modern femininity. Baby blues and pretty pinks made the runway touchably soft, while black kept the collection from looking too young by adding a classic feel. Hemlines were variable, allowing the looks to transition smoothly to all occasions and tastes (indeed, trousers were also included, though less often). Caroline had one look in the show, but it was rather unique in the collection. While fostering the romantic aura characteristic of the label, it was also subtly masculine in the loose-fitting trousers and blazer. In particular, the pervasive use of glitter made this look stand out among the other colours mentioned earlier.
Friday was the day the whole fashion world (and indeed many outside of it) was waiting for. The sacking of John Galliano just days prior to the Christian Dior show left many in doubt as to whether the house would even let the collection see the light of day. But in a turn that demonstrated the value of the people behind the scenes, the show went ahead, no holds barred. The collection still held much of Galliano's theatrical influence, but whether it was the pall of a dying (or dead) reputation, or a hint of fact behind rumours that the atelier had completed half of the collection without the designer's instruction, it seemed but a shadow of times long gone and of doubtful return.
Oh my dear dear Monsieur Elbaz... Never does this man set a foot wrong in my eyes, and this season was no exception as Lanvin again brought forth a truly covetable collection. Hollywood is always buzzing about Lanvin ballet flats, which I agree, are excellent, but I find it difficult to understand why the house's clothes are mentioned to a comparably lesser extent. For fall, Elbaz went quite plain, or at least, so he initially tricked us into believing. Early in the show, there was a distinct sense of smooth modesty to the clothes, but as the show progressed, more complex elements began to emerge in the forms of new textures, patterns, and of course jewelery, which has often been a standout part of Lanvin's collections in recent seasons. Towards the end, there was a burst of colour: one almost got the impression that Elbaz was struggling to keep this liveliness hidden within himself until spring, but as the collection grew, so did this inner spark of excitement. It filtered out through the afore mentioned elements, tiny wholes in the ford of the subconscious mind, until the pressure was too great, and the barrier was overcome.
One of the youngest designers on the circuit, Pedro Lourenco is not hesitating to demonstrate his creativity and not-so-small amount of potential. While more ready-to-wear than last season, the designer's fall collection did not lack the edge of it's predecessor, though it was this time shrouded in softer textiles, predominantly wool and, for the first time, fur. Big fan of the geometric nature of the clothes as well, demonstrated through the patterns and structures of various pieces.
On Saturday, Caroline began with one look at Viktor & Rolf. It was a red-faced display by the Dutch designers, but by no means one of embarrassment. Taking point from knights' armour (I totally called this trend. Totally called it.), the collection was extremely structural and very sharp; indeed, if you didn't cut your hand on Aymeline Valade's cheekbones, the shoulders of Abbey Lee Kershaw's runway contraption would no doubt do the job. It certainly gave a whole new meaning to "power-dressing," that's for sure. And where were these knightesses from anyway? Give the models some horns and a tail, and I'd have no problem with claiming them as the devil's army. But in this notable absence, I'd hazard a guess at bloodstained Crusaders. The red cross featured on Nimue Smit's look set off that radar for me in particular, and the theme of roses was also instrumental. So the real question then becomes: What are Viktor & Rolf fighting for? And the answer? Creativity. Amen to that.
Sonia Rykiel was quite English-looking this season, with argyle and tartan seeming particularly popular. Trademark quilting was also present on the odd overcoat, and the colour palette popped (though perhaps less so than usual), but the real story was with the cozy knits and odd boa. Caroline was the second girl out, and upon realizing this, I became suddenly aware that the girl has yet to open in Paris yet this season. But surely, that would not prove to be the case for the whole week, right? Right?
Loewe was the final show of the day for The Brasch, and she had one look here as well. Always known for it's leather creations, Stuart Vevers' assured us that the tradition of the house was living on unforgotten under his direction, but that it was also to be renewed with his own edgy take on things. Where this is his tenth season at the Spanish house, I wonder what's prompted the necessity of this statement. Elbaz made a similar one prior to his own show, as have a number of designers; more so than usual. I don't doubt that it ties back to the regrettable catastrophe of Galliano, whose comments, said Dior CEO Sidney Toledano, flew in the face of the house's values for the last six decades. It would seem that everyone is intent on demonstrating their loyalty to their house of employment in the face of this.
Photos courtesy of vogue.it
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