Monday, September 21, 2015
FrontRow: Burberry Spring/Summer 2016, Capes and Youthful Co...
FrontRow: Burberry Spring/Summer 2016, Capes and Youthful Co...: Burberry Spring/Summer 2016 By Liza Foreman It's always showtime at Burberry at London Fashion Week, with this season being no e...
Burberry Spring/Summer 2016, Capes and Youthful Cool
Burberry Spring/Summer 2016
By Liza Foreman
It's always showtime at Burberry at London Fashion Week, with this season being no exception. An orchestra awaited the crowd in the translucent tent venue in Hyde Park, and played from a pit in the middle of the runway, around which models walked.
Like the black tuxedos and white shirts worn by the musicians, the models often sported the same color scheme, and came dressed elegantly for an outing to the Philharmonic or less formally and more playfully, perhaps, for an upscale concert by the likes of the British songstress Alison Moyet who performed retro British hits for the show.
Some wore black capes clasped together with gold buttons, worn over flowing silk gowns, draped in the tussled locks from these striding young women that had decided to dress up for the occasion in something glam that they had unpacked from one of the large canvas backpacks slung over a long coat.
More of these low slung backpacks, rich embroidery, gold trimmings, mini girly dresses, and men sporting perforated cream rain coats, and others that came in retro, heavily sequined evening jackets, made it a young, fun and varied show that riffed off both past century heroines and pop-ish styles from more recent generations, in this inventive preppy wardrobe for modern times.
Saturday, September 19, 2015
FrontRow: Julien MacDonald Spring/Summer 2016, Slits and Gli...
FrontRow: Julien MacDonald Spring/Summer 2016, Slits and Gli...: By Liza Foreman Julien MacDonald Spring/Summer 2016 It felt like a club night at 11 a.m. on Saturday morning, at the storied Smithfiel...
Julien MacDonald Spring/Summer 2016, Slits and Glitz for Boys and Girls
By Liza Foreman
Julien MacDonald
Spring/Summer 2016
It felt like a club night at 11 a.m. on Saturday morning, at the storied Smithfields market hall, as London fashionista gathered to the beats booming under the old-world clocks and wrought iron frameworks of the designer Julien MacDonald's chosen venue.
Then the sound of an aircraft landing echoed through the sound system, followed by a deep voice that called out, " Pleased to meet you," as the first model walked in a skimpy black dress, comprised of slits and feather-like trim that adorned the body in a design that looked like a punk T shirt turned into Gothic, sexy eveningwear for bad girls.
The theme continued with a figure hugging women's trouser suit, made of slashed together threads, that revealed the body beautiful.
But this season, MacDonald is debuting his menswear line.
And so a decidedly hot young model soon followed, his bare chest draped in a green dressing gown design, decorated in gentleman- like Paisley swirls, that could be seen again an an oblong top in navy worn by a boyish model, that looked like a Tunic- style dress, as the designer mixed men's and women's looks that shared multiple themes.
Think rich glittering golds and heavy silver embroidery, found in floor length dresses and girl and boy short designs that were sexy and richly decorated, not to mention his updated Paisley goes Tribal style patterns that could be found throughout.
The slits were a recurring theme, and found again in a tight slashed short ensemble for men.
Another male model sported silk boxers hung low on his hips, while the next came wearing designer Bermudas with a long sleeved oblong top that looked silky and inspired perhaps by dressing gowns of old but designed for the outdoors warrior.
For womenswear, a combination of rich embroidery and mesh on figure hugging mini dresses, ranged from the gaudy to St Tropez night club white mini dresses, to the visionary in the form of a mini dress in embroidered orange lace and tulle that ruffled around the hips like a starched tutu.
MacDonald got a raucous round of applause as he took a bow with his final look, an ornate white wedding dress, as the audience filed out to a remix of Michael Jackson 's
I'm Bad. Indeed. But he sent out dresses for all occasions and menswear with a young upmarket slant.
Julien MacDonald
Spring/Summer 2016
It felt like a club night at 11 a.m. on Saturday morning, at the storied Smithfields market hall, as London fashionista gathered to the beats booming under the old-world clocks and wrought iron frameworks of the designer Julien MacDonald's chosen venue.
Then the sound of an aircraft landing echoed through the sound system, followed by a deep voice that called out, " Pleased to meet you," as the first model walked in a skimpy black dress, comprised of slits and feather-like trim that adorned the body in a design that looked like a punk T shirt turned into Gothic, sexy eveningwear for bad girls.
The theme continued with a figure hugging women's trouser suit, made of slashed together threads, that revealed the body beautiful.
But this season, MacDonald is debuting his menswear line.
And so a decidedly hot young model soon followed, his bare chest draped in a green dressing gown design, decorated in gentleman- like Paisley swirls, that could be seen again an an oblong top in navy worn by a boyish model, that looked like a Tunic- style dress, as the designer mixed men's and women's looks that shared multiple themes.
Think rich glittering golds and heavy silver embroidery, found in floor length dresses and girl and boy short designs that were sexy and richly decorated, not to mention his updated Paisley goes Tribal style patterns that could be found throughout.
The slits were a recurring theme, and found again in a tight slashed short ensemble for men.
Another male model sported silk boxers hung low on his hips, while the next came wearing designer Bermudas with a long sleeved oblong top that looked silky and inspired perhaps by dressing gowns of old but designed for the outdoors warrior.
For womenswear, a combination of rich embroidery and mesh on figure hugging mini dresses, ranged from the gaudy to St Tropez night club white mini dresses, to the visionary in the form of a mini dress in embroidered orange lace and tulle that ruffled around the hips like a starched tutu.
MacDonald got a raucous round of applause as he took a bow with his final look, an ornate white wedding dress, as the audience filed out to a remix of Michael Jackson 's
I'm Bad. Indeed. But he sent out dresses for all occasions and menswear with a young upmarket slant.
Monday, July 6, 2015
Schiaparelli Couture Fall/Winter 2015
By Liza Foreman
Well there is retro fashion, and then there is Elsa Schiaparelli and the joy of the house being recently revived to show beautifully designed throwback creations to the designer, for the couture season Fall/Winter 2015.
Somewhat theatrical in nature, like the designer herself, the collection was fittingly shown in a faux theater that harked back to yesteryear, and was called the Theatre D' Elsa, on the Place Vendome.
Where else, for a brand with such an illustrious history?
20s-style doorways framed the runway and posters in suitably antiquated colors hung on the walls, and matched some of those found inside the decorative folder of show notes that included old world illustrations.
The Piece En 2 Actes, or the "Ce Soir, On Jour" collection, included smatterings of the late designer's favorite color, shocking pink, found in high heeled shoes or in a floor-length flyaway gown that looked Grecian in style, like some other pieces, some of which were decorated with images from Greek-style murals.
The eccentric nature of the house could be seen throughout, from a furry waistcoat and knee-length length wooly widecut trousers, to an oversized thermal looking pink skirt decked in images of a Betty Boo style woman's head wrapped in a scarf.
And the house drew on styles from multiple eras in history, but clothed them all with a Schiaparelli twist.
There was a wartime civilian women's suit in brown tweed patchwork, dressed up with silver detailing on the collar that worked like a riff on the decoration from a military uniform.
There were decorative capes from yesteryear and rich glittering patterned materials rich with the empire, used for dresses cinched at the waist and three-quarter length trousers that worked like period pieces but, a la Schiap, retained a sense of modernity, be it from the choice of a particularly offbeat yellow, to the fact that some of the designs were combined with, say, an OTT pink polar bear sleeveless top, giving the ensemble a sense of the quirky and irreverent.
Others, like an ostentatious looking see-through blue floor-length gown, a la Marie Antoinette, with a rich embroidered black collar reaching to the midriff and revealing a line of pure white flesh, used technology or light prints on the material.
It is a delight to see such beautiful creativity, and the reworking of such an original visionary that stays true to the house's history and still stands out today.
The looks are like rare butterflies flitting through the crowded fashion scene.
Even the descriptions provided in the show notes work like a delectable menu to warm the appetite:
"A moonstruck chiffon dress and 'in the night" biker jacket, or a midnight silk velvet dress embroidered with flowers of garden pailletes and golden volutes, or a suit made of patches of tweed embroidered with zinc pailletes," read the notes.
Sunday, July 5, 2015
Versace Fall/Winter 2015 Couture
By Liza Foreman
Models with straggled locks of blond hair, crowned in pretty flower chains, like those decorating the dresses, strode down the Paris runway for Versace with a nonchalance and air of Boho glamor, for the opening night of couture week in Paris.
It was as if Saint Laurent designer Hedi Slimane had taken his California cool aesthetic on show at his menswear collections and worked with Donatella Versace, with her beautiful craftsmanship and flamboyant detailing, to create a series of luxurious dresses that had a certain free love flair.
Indeed, love was in the air. In the show notes for the collection, the designer said, "The ethereal nature of these light as air dresses reflected a woman's passions exposed."
Sometimes she was a cute lioness, and at other times a prowling tiger.
In keeping with the Versace aesthetic, these luxurious creations were sometimes floor length and flouncy and at other times slight and sexy, think dresses that revealed sensual strips of flesh.
The idea was, "A new Versace evolution. Elevated deconstruction, softness," the house said in the show notes.
They continued:
They continued:
"Stripped of detail, transparent silk chiffon gowns flow from boned bodices lined in velvet, the fabric free to float as if pure air.... Lightweight chiffon layers bring softness to tailoring, especially with the drape of bell sleeves. The tailoring is punctuated by metal staples that define the silhouette....Cut-out chiffon layers create raw-edged flowers that decorate chiffon dresses in dove grey, powdery pink, faded green and lilac....Fil coupé velvet and hand-painted flowers are floating on a long gown as if destroyed, with boning lined in velvet. A string of flowers trails up to hold the dress at the neck and the head....A new sense of ease comes from an oversized embellished sweater which hangs off the shoulder, worn over a floor length embellished slip dress, held just by slender shoulder straps."
Thursday, June 25, 2015
FrontRow: Issey Miyake Color For Men's Summer 2016
FrontRow: Issey Miyake Color For Men's Summer 2016: Issey Miyake Men Spring/Summer 2016 A wooden sign post reading Issey Miyake, set amid the foliage leading into the Musee de Quai Branly, s...
Issey Miyake Color For Men's Summer 2016
Issey Miyake Men Spring/Summer 2016
A wooden sign post reading Issey Miyake, placed amid the foliage leading into the Musee de Quai Branly, set the tone for the designer's Spring/Summer 2016 menswear show in Paris on Thursday.
In the minimalist notes, the Tokyo-based studio declared that the theme was set somewhere between Tokyo and Mexico, or "two cities full of life where nature collides."
The graphics that decorated the in -part sports-inspired looks, however, were created in Japan by the photographer Yoshinori Mizutani.
They worked like old Japanese art traditions, in part.
One model walked in a purple one-piece jumpsuit of sorts that cropped in at the ankles and waist, while another wore pink socks that looked a little gentlemen, but were matched with one of the sporty looking suits with shorts and loose fitting tops that were given a refined edge through the beautiful colors and patterns that made one think of Japan's wood block artists, the ripple of a sunset or Mounti Fuji or a tsunami decorating those distinctive artworks.
Here the aesthetic was watered down and relied more on straight lines and a more graphic look, but the colors were just as powerful as those woodblock prints and made the collection pop. These outfits were paired with scarves tied around the neck, a la Mexican bandits, and bright sports shoes and some of the shirts and, in fact, the whole aesthetic looked a bit Hawaii, a place that is indeed en route from Tokyo to Mexico.
A wooden sign post reading Issey Miyake, placed amid the foliage leading into the Musee de Quai Branly, set the tone for the designer's Spring/Summer 2016 menswear show in Paris on Thursday.
In the minimalist notes, the Tokyo-based studio declared that the theme was set somewhere between Tokyo and Mexico, or "two cities full of life where nature collides."
The graphics that decorated the in -part sports-inspired looks, however, were created in Japan by the photographer Yoshinori Mizutani.
They worked like old Japanese art traditions, in part.
One model walked in a purple one-piece jumpsuit of sorts that cropped in at the ankles and waist, while another wore pink socks that looked a little gentlemen, but were matched with one of the sporty looking suits with shorts and loose fitting tops that were given a refined edge through the beautiful colors and patterns that made one think of Japan's wood block artists, the ripple of a sunset or Mounti Fuji or a tsunami decorating those distinctive artworks.
Here the aesthetic was watered down and relied more on straight lines and a more graphic look, but the colors were just as powerful as those woodblock prints and made the collection pop. These outfits were paired with scarves tied around the neck, a la Mexican bandits, and bright sports shoes and some of the shirts and, in fact, the whole aesthetic looked a bit Hawaii, a place that is indeed en route from Tokyo to Mexico.
Wednesday, March 11, 2015
Rahul Mishra Fall/Winter 2015
By Liza Foreman
Rahul Mishra Fall/Winter 2015
From his atelier in Northern Delhi, the designer Rahul Mishra creates elaborate embroideries and other designs with the help of scores of worker bees.
But for his second Paris Fashion Week outing, he used such techniques to create wearable ready to wear pieces rather than the avant garde shapes shown in Delhi last year as part of the Be Open exhibition in which he created more unusual designs with a luxury overseas market in mind, using Indigenous crafts. Here he took it and made it something ready to wear for wherever.
The designer showed a collection that, while it drew upon Indian heritage, sometimes also looked entirely elegant and western, as was the case with a short black woolen suit or knee length narrow dress with a round collar. Both would fit right in with any sophisticated designer wardrobe.
On the other hand, there was a delicacy and use of embroidery and choice of colors on some little cute pink and cream outfits that was sometimes quite modern Indian girl setting out for distant shores.
Tones were mostly neutral with the color coming in the form of the decoration.
There were some lovely details like embroidery shown on transparent mid riff panels, mirroring sari designs showing bare skin, and sometimes more elaborate highly decorative pieces like an almost graphic style embroidered three quarter length jacket that one might see worn at a wedding. Mishra said backstage: "I always believe God lies in the detail. At the same time Paris is very chic and understated and sophisticated. This is a rare balance in a city and one I am trying to strike in my work."
Many Indian designers stay too Indian when they go overseas but Mishra is going in the right direction with these beautiful textile works.
Rahul Mishra Fall/Winter 2015
From his atelier in Northern Delhi, the designer Rahul Mishra creates elaborate embroideries and other designs with the help of scores of worker bees.
But for his second Paris Fashion Week outing, he used such techniques to create wearable ready to wear pieces rather than the avant garde shapes shown in Delhi last year as part of the Be Open exhibition in which he created more unusual designs with a luxury overseas market in mind, using Indigenous crafts. Here he took it and made it something ready to wear for wherever.
The designer showed a collection that, while it drew upon Indian heritage, sometimes also looked entirely elegant and western, as was the case with a short black woolen suit or knee length narrow dress with a round collar. Both would fit right in with any sophisticated designer wardrobe.
On the other hand, there was a delicacy and use of embroidery and choice of colors on some little cute pink and cream outfits that was sometimes quite modern Indian girl setting out for distant shores.
Tones were mostly neutral with the color coming in the form of the decoration.
There were some lovely details like embroidery shown on transparent mid riff panels, mirroring sari designs showing bare skin, and sometimes more elaborate highly decorative pieces like an almost graphic style embroidered three quarter length jacket that one might see worn at a wedding. Mishra said backstage: "I always believe God lies in the detail. At the same time Paris is very chic and understated and sophisticated. This is a rare balance in a city and one I am trying to strike in my work."
Many Indian designers stay too Indian when they go overseas but Mishra is going in the right direction with these beautiful textile works.
Monday, March 9, 2015
Veronique Branquinho Fall/Winter 2015
By Liza Foreman
Veronique Branquinho Fall/Winter 2015
Most of the time these days, fashion editors complain about trekking across town for fashion week shows but sometimes the discovery of unusual interiors selected as a venue by designers makes it a pleasure.
Such was the case on Monday when Veronique Branquinho chose a vacant Hausmann style apartment tucked behind Opera that was matched by an original show.
The building came complete with ornate ceilings and dangling wires and the requisite models who walked to a surreal sound track combining classical music with booming back beats, and an eerie sounding songstress whose voice interrupted the classical flow.
And the clothes in some way mirrored the two worlds. There was at first black, black and more black peppered with patchwork pockets on a jacket in soft orange wool or a Tartan style material used for a flowing pleated skirt worn with a white blouse. And more iterations on the form. Think the soft heathers of Scotland given a romantic twist, like a rich woolen skirt in orange and black dogtooth pattern flowing to the floor.
There was also innovation, like a floor length skirt starched out into a wide hoop around the ankles representing an innovative play on traditional crinoline extended skirt forms.
And there was leather and a touch of S&M in a top that twisted across a models torso revealing white flesh beneath.
It was a beautiful, original collection drawing on romantic womanly styles of old, jazzed up with beautiful rich textiles and relying on a play with form using avant garde and sometimes mannish touches mixed with the romantic and the siren and bright pops of eye-catching colors to bring Branquinho into a design world of her own making.
Veronique Branquinho Fall/Winter 2015
Most of the time these days, fashion editors complain about trekking across town for fashion week shows but sometimes the discovery of unusual interiors selected as a venue by designers makes it a pleasure.
Such was the case on Monday when Veronique Branquinho chose a vacant Hausmann style apartment tucked behind Opera that was matched by an original show.
The building came complete with ornate ceilings and dangling wires and the requisite models who walked to a surreal sound track combining classical music with booming back beats, and an eerie sounding songstress whose voice interrupted the classical flow.
And the clothes in some way mirrored the two worlds. There was at first black, black and more black peppered with patchwork pockets on a jacket in soft orange wool or a Tartan style material used for a flowing pleated skirt worn with a white blouse. And more iterations on the form. Think the soft heathers of Scotland given a romantic twist, like a rich woolen skirt in orange and black dogtooth pattern flowing to the floor.
There was also innovation, like a floor length skirt starched out into a wide hoop around the ankles representing an innovative play on traditional crinoline extended skirt forms.
And there was leather and a touch of S&M in a top that twisted across a models torso revealing white flesh beneath.
It was a beautiful, original collection drawing on romantic womanly styles of old, jazzed up with beautiful rich textiles and relying on a play with form using avant garde and sometimes mannish touches mixed with the romantic and the siren and bright pops of eye-catching colors to bring Branquinho into a design world of her own making.
Saturday, March 7, 2015
FrontRow: Olympia Le-Tan Fall/Winter 2015
FrontRow: Olympia Le-Tan Fall/Winter 2015: By Liza Foreman Olympia Le-Tan Fall/Winter 2015 PARIS Wearing a silvery shoe with a slither of a high heel that elevated the arch of...
Olympia Le-Tan Fall/Winter 2015
By Liza Foreman
Olympia Le-Tan
Fall/Winter 2015
PARIS
Wearing a silvery shoe with a slither of a high heel that elevated the arch of the foot as high as a ballerina on points, a young model with legs as narrow as her stilettos, balanced a set of archaic looking books on her voluminous hair do and posed in a puffy frill of a skirt backstage.
But the books were actually little bags that the designer Olympia Le-Tan extended in kind to her guests this season.
They came clutching cardboard versions of the ornately decorated faux velvet designs that were named after books.
But what the fun loving designer, she who has also put the naughtiness back into fashion with her buxom Austrians and her saucy school girls in frills, has also extended is her range. In addition to the signature bags it now includes clothing that is just as fun.
And it is unique. No attempt is made to fit into the styles of the times or design what your average woman might want to wear. Here one finds saucy green leotards worn with tights, peaking from beneath a warm woollen jacket with puffy sleeves. Or a skirt that billows out like an amorphous sea creature submerged with the white layers of a water Lilly, its flyaway layers hinting at the ballerina twirling through the designer's mind this season, as per the show notes.
Hats were as out there as the cheeky outfits, and included a white feather crown that looked like something designed for a school play. The show was fun and frolicsome and non conformist too.
There were divas in slinky skirts and oversized belts and safari like attire given an Austrian twist. The crazy hats looked a little Schiaparelli. And indeed the collection was somewhat theatrical but also for the most part wearable.
As models walked under the vast ornately decorated ceilings of an old French salon, the voice of Kate Bush singing Babushka played in tune with the theme this season.
Her muse? A possessed pin up, like a ballerina on mushrooms or a demented Kate Bush, at once elegant, sexy, fierce and fragile .
Piano sonatas tinkered on a distant piano as the audience too their leave and the girls hung up their costumes for the night. This designer is prepared to beat her own path through the jungle of fashion and she does it wearing a dress.
Olympia Le-Tan
Fall/Winter 2015
PARIS
Wearing a silvery shoe with a slither of a high heel that elevated the arch of the foot as high as a ballerina on points, a young model with legs as narrow as her stilettos, balanced a set of archaic looking books on her voluminous hair do and posed in a puffy frill of a skirt backstage.
But the books were actually little bags that the designer Olympia Le-Tan extended in kind to her guests this season.
They came clutching cardboard versions of the ornately decorated faux velvet designs that were named after books.
But what the fun loving designer, she who has also put the naughtiness back into fashion with her buxom Austrians and her saucy school girls in frills, has also extended is her range. In addition to the signature bags it now includes clothing that is just as fun.
And it is unique. No attempt is made to fit into the styles of the times or design what your average woman might want to wear. Here one finds saucy green leotards worn with tights, peaking from beneath a warm woollen jacket with puffy sleeves. Or a skirt that billows out like an amorphous sea creature submerged with the white layers of a water Lilly, its flyaway layers hinting at the ballerina twirling through the designer's mind this season, as per the show notes.
Hats were as out there as the cheeky outfits, and included a white feather crown that looked like something designed for a school play. The show was fun and frolicsome and non conformist too.
There were divas in slinky skirts and oversized belts and safari like attire given an Austrian twist. The crazy hats looked a little Schiaparelli. And indeed the collection was somewhat theatrical but also for the most part wearable.
As models walked under the vast ornately decorated ceilings of an old French salon, the voice of Kate Bush singing Babushka played in tune with the theme this season.
Her muse? A possessed pin up, like a ballerina on mushrooms or a demented Kate Bush, at once elegant, sexy, fierce and fragile .
Piano sonatas tinkered on a distant piano as the audience too their leave and the girls hung up their costumes for the night. This designer is prepared to beat her own path through the jungle of fashion and she does it wearing a dress.
Elie Saab Fall/Winter 2015
By Liza Foreman
PARIS
Elie Saab
Fall/Winter 2015
The scene was set for the Elie Saab Fall/Winter 2015 show, with the interiors of the vast tent-like structure transformed into a magical forest with cut-out trees branching artistically over the runway.
The muse of The Way of the Woods collection was, in due course, to venture into a mysterious forest, her clothing to become one with the sublime surroundings.
Shades of pine and moss, it was announced, would flourish upon the garments, from graphic prints in crepe to lace to be transformed into sprigs or a signature bag decorated with a laser cut forestial detail.
Or that at least was the theory spelled out in show notes that then became reality on the runway.
The music was a choral blast of haunting tones, attracting swarms of fashionista scattered like lost deer in the gardens outside the doors. And then rock followed. Sweet Dreams. Some of them want to be abused.
Then inside the intimate space, with the feel of a circus tent, where the family of fashion gathered to watch the show, the cover on the carpet was whipped back like a curtain opening before a production, and the voices of the photographers boomed like a circus master: uncross your legs.
The beating of the drum, and out marched a model in a floor length black dress with military gold buttons decorating the bust. The theme continued with the militaristic knobs decorating a jacket, and gloves or a small bag worn with a black mini dress with long sleeves and boots.
And then more models walked through the forest, in a type of plain green military camouflage used for sexy short dresses and longer gowns, before creations covered in rich blue floral imprints added a rich, historic and artistic touch to some of the full length looks.
Saab's elegant eveningwear bent was never lost, and the military touches or floral prints or a furry jacket that looked like a walking moss creation, all fit into his princess meets girly, sexy and, usually, refined set of look. Some pieces had a slick, night club of old type feel that looked a little retro, like his designs so often feel.
PARIS
Elie Saab
Fall/Winter 2015
The scene was set for the Elie Saab Fall/Winter 2015 show, with the interiors of the vast tent-like structure transformed into a magical forest with cut-out trees branching artistically over the runway.
The muse of The Way of the Woods collection was, in due course, to venture into a mysterious forest, her clothing to become one with the sublime surroundings.
Shades of pine and moss, it was announced, would flourish upon the garments, from graphic prints in crepe to lace to be transformed into sprigs or a signature bag decorated with a laser cut forestial detail.
Or that at least was the theory spelled out in show notes that then became reality on the runway.
The music was a choral blast of haunting tones, attracting swarms of fashionista scattered like lost deer in the gardens outside the doors. And then rock followed. Sweet Dreams. Some of them want to be abused.
Then inside the intimate space, with the feel of a circus tent, where the family of fashion gathered to watch the show, the cover on the carpet was whipped back like a curtain opening before a production, and the voices of the photographers boomed like a circus master: uncross your legs.
The beating of the drum, and out marched a model in a floor length black dress with military gold buttons decorating the bust. The theme continued with the militaristic knobs decorating a jacket, and gloves or a small bag worn with a black mini dress with long sleeves and boots.
And then more models walked through the forest, in a type of plain green military camouflage used for sexy short dresses and longer gowns, before creations covered in rich blue floral imprints added a rich, historic and artistic touch to some of the full length looks.
Saab's elegant eveningwear bent was never lost, and the military touches or floral prints or a furry jacket that looked like a walking moss creation, all fit into his princess meets girly, sexy and, usually, refined set of look. Some pieces had a slick, night club of old type feel that looked a little retro, like his designs so often feel.
FrontRow: Tsumori Chisato Fall/Winter 2015
FrontRow: Tsumori Chisato Fall/Winter 2015: By Liza Foreman PARIS The old world interiors of the Ecole des Beaux Arts were treated to a touch of the comic book world on Saturday ...
FrontRow: Tsumori Chisato Fall/Winter 2015
FrontRow: Tsumori Chisato Fall/Winter 2015: By Liza Foreman PARIS The old world interiors of the Ecole des Beaux Arts were treated to a touch of the comic book world on Saturday ...
Tsumori Chisato Fall/Winter 2015
By Liza Foreman
PARIS
The old world interiors of the Ecole des Beaux Arts were
treated to a touch of the comic book world on Saturday
morning, with the colorful Japanese designer
Tsumori Chisato's Fall/Winter 2015 catwalk show.
Chisato who has a chi chi store in the Aoyama district of Tokyo, sent
out cute and sometimes couture level designs that both brought to
mind a character that had walked out of a comic book or
a girl that had at least taken a few scraps of comic book pages and put
them onto a dress to embellish the design.
So the Japanese, as we know, like pop culture clothing and
Hello Kitty, and wear other things that might be considered
too silly elsewhere. But in the hands of an extraordinarily
colorful and creative designer, that approach here was elevated into
something that deserves its place on the Paris catwalks and
even shines there, with creativity of this kind and brands this original being
too few in number.
PARIS
The old world interiors of the Ecole des Beaux Arts were
treated to a touch of the comic book world on Saturday
morning, with the colorful Japanese designer
Tsumori Chisato's Fall/Winter 2015 catwalk show.
Chisato who has a chi chi store in the Aoyama district of Tokyo, sent
out cute and sometimes couture level designs that both brought to
mind a character that had walked out of a comic book or
a girl that had at least taken a few scraps of comic book pages and put
them onto a dress to embellish the design.
So the Japanese, as we know, like pop culture clothing and
Hello Kitty, and wear other things that might be considered
too silly elsewhere. But in the hands of an extraordinarily
colorful and creative designer, that approach here was elevated into
something that deserves its place on the Paris catwalks and
even shines there, with creativity of this kind and brands this original being
too few in number.
Mugler Autumn/Winter 2015
By Liza Foreman
Mugler Fall/Winter 2015
For A/W2015, Mugler designer David Koma looked to microchips and circuit boards and thought in terms of sculptural dimensions to turn his digital muses into shapely minidresses and mannish suits for his second outing for the brand.
He dubbed the approach technical craftsmanship but the silhouettes which were also seen in his Spring/Summer 2015 collection were designed in an old-school fashion to accentuate the hips, bust and collarbone, using sheer paneling and eyelets of steel nimrod embroidery, like the metal on a chipboard.
Koma created angular forms that wrapped around the body, by using a mix of warm and also technical materials, from white wool crepe to what he called a 3D sequin shine seen peeping from below tailored cabana and sharp tailored peplums. Eveningwear included silk gowns draped in iridescent sequins which descended towards the ankle in hourglass form.
The results: Litle black dresses and mannish overcoats or mini skirts paired with black sweaters, lined with brightly shining sequins or a dress with see through panels that extended into a collar like round neck design.
What sounded inventive and new on paper translated into little cocktail dresses and Seventies style white coats worn with turtlenecks, or gold patchwork paneling found on a white mini dress or a brown sequined top shining like diamonds from beneath a white suit with cropped trousers.
The look was mostly flirty and cocktail hour with a touch of masculine found in the suits.
The beats playing in the white interiors of the Grand Palais have a futuristic feel but at best the pieces were minimalist and dotted in computer board type Metallica from time to time, but were not that obviously inspired by the infinite possibilities that the designer spoke of in the show notes or those intricate real world connections that result from microchips and circuit boards that were mentioned in the notes as well.
Mugler Fall/Winter 2015
For A/W2015, Mugler designer David Koma looked to microchips and circuit boards and thought in terms of sculptural dimensions to turn his digital muses into shapely minidresses and mannish suits for his second outing for the brand.
He dubbed the approach technical craftsmanship but the silhouettes which were also seen in his Spring/Summer 2015 collection were designed in an old-school fashion to accentuate the hips, bust and collarbone, using sheer paneling and eyelets of steel nimrod embroidery, like the metal on a chipboard.
Koma created angular forms that wrapped around the body, by using a mix of warm and also technical materials, from white wool crepe to what he called a 3D sequin shine seen peeping from below tailored cabana and sharp tailored peplums. Eveningwear included silk gowns draped in iridescent sequins which descended towards the ankle in hourglass form.
The results: Litle black dresses and mannish overcoats or mini skirts paired with black sweaters, lined with brightly shining sequins or a dress with see through panels that extended into a collar like round neck design.
What sounded inventive and new on paper translated into little cocktail dresses and Seventies style white coats worn with turtlenecks, or gold patchwork paneling found on a white mini dress or a brown sequined top shining like diamonds from beneath a white suit with cropped trousers.
The look was mostly flirty and cocktail hour with a touch of masculine found in the suits.
The beats playing in the white interiors of the Grand Palais have a futuristic feel but at best the pieces were minimalist and dotted in computer board type Metallica from time to time, but were not that obviously inspired by the infinite possibilities that the designer spoke of in the show notes or those intricate real world connections that result from microchips and circuit boards that were mentioned in the notes as well.
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