editor’s note: This is a compilation of reviews from Papierdoll writer Meryl Demiglio
Nicolas Ghesquière did his homework and then some on the Balenciaga line. Every single piece was complete. The stand outs of the lines were the black brocade pantsuits, the dresses with the chiffon insets, the black gowns filled with glamour, the jeweled rock star t-shirts … must I go on? The bloomers were the only thing that made me say non. No one is going to like everything. I almost did.
Phoebe Philo makes me want to go out on some sort of picnic or leisurely stroll with her line for Chloe. The show featured the same muted colors prevalent at a good number of shows during Paris’ fashion week. The pieces said ’60s: simple embroidery across the top and an A-line skirt that seemed out of the flower love decade. Simple off-white tops with ruffle elbow-length sleeves, chiffon and lace on a demure white dress and a sheer sleeved tan jacket set the show off for me. Canadian model Jessica Stam wore the a bright orange jacket that caused furious scribbling to ensue (at least on my part).
I wasn’t really familiar with Philo until now. You can see the English influence in her designs. It’s a combination of soft colors, sensible, wearable tops and uncomplicated, yet appealing features.
I know how you feel Yael.
I loved the bathing suits, sleek, sexy and graceful. Karl Lagerfeld truly channeled Coco Chanel’s sense of style by creating a line that pays respect to an earlier time in fashion. The bikini bottoms were straight out of the ’60s and were nothing like I’ve seen out of the most recent fashion weeks. The evening wear said ’20s in their elegance. One sheer piece in particular was the talk of the show and it wasn’t hard to see why. The chiffon dress silhoutted a shorter piece underneath that was a sight to behold. There was the brilliantly ruffled gold mini-skirt in a flower-like pattern. A black tweed patterned jacket with satin bow connecting both ends and nothing underneath. There was one dress in particular worn by Italian model MariaCarla Boscono that simply made me want to go out and mortgage the house. It had striking white vertical pattern underneath a frilly horizontal line set all that flared.
I’ll admit I have not been the biggest Lagerfeld cheerleader in recent years, but he made a believer out of me with this show.
Easy going, relaxed, and beautiful; that was Stella McCartney’s show in a nutshell. Stella’s show opened sort of like her hometown’s normal weather pattern: gray, sometimes stuffy, but lots of character. This collection had a lot of ’80s inspiration like most collections so far for the season: high waist, shirt dresses and one piece jumpsuits.
There was a dash of color; long flowy dresses sailed down the runway in mixes of bronze, reds, yellows and whites. McCartney understands a woman’s body. I guess that’s what I drew away from the show more than anything else, the wearability. The clothes seemed to fit a variety of body types. It contrasted the Givenchy show by leaps and bounds. In appearance, the Givenchy show was a non-standard futuristic world of white separated by these rigid forms. The Stella McCartney show on the exterior in terms of scenery was faily standard stuff, but the actual pieces stood out, model by model, dress by dress etc.
There was the silvery, shimmering, form-loving bathing suit, the sexy silver/blue jumpsuit, the flowing multi-colored strapless dress. The best part of the show came from McCartney’s nod to grace. Simple and elegant wins the race everytime.
I loved the style. It was unbelievably sexy. Very sleek. Very Chic. Very unwearable.
The clothes were so damned tight. I don’t know where the designer hid the oxygen tanks on the pieces, as the models would need them for surreptitious breathing. Yet the pieces were gorgeous nonetheless. I think the problem, though, was in functionality. Some times functionality in fashion takes a back seat to the design aesthetic. It seems the trend is moving towards an amalgam of both as demonstrated in Milan.
Seeing Riccardo Tisci’s work in person made me wonder where he was going. Far be it for a small time fashion blog to question the gods of design in Paris, but I just didn’t “get it.”
What do you get when you mix sexy with punk fashion? Vivienne Westwood’s Paris pret a porter show. Even if you were sitting far behind the runway, you couldn’t miss the colors. They were loud. The designer who has been the muse for many up and comers spared no creative expense in putting together a show that mixed golds with light blues on an asymmetrical dress and in turn has an “I am not a terrorist” shirt and matching belt in the same show.
Did I mention the make-up and hair? Think dark gray goth-like lipstick, heavy mascara and gelled hair to the side. Everything about the fashion screamed Vivienne Westwood’s signature style. Is it wearable? Yes and maybe. Some of the shorts were just way too short for my taste, but that is fashion. I shudder to think though, that someone who shouldn’t wear them, will probably attempt to this summer.
Either way, it was an honor simply being there.
Imagine a multi-layered, army green camouflage dress. That’s all. Just imagine that. No need to imagine because that’s the piece I fell in love with at Yohji Yamamoto’s Paris show. Michael Kors had something similar at New York fashion week but the most obvious difference was that this one had more character. It had more details so it seemed a bit more elaborate.
The thing that got me about this show more than anything else was the variety. You had the aforemention camo dress, then you had a slinky deep red dress. Some people might call it a lack of singular direction, but I see it as less of that and more as a willingess to experiment.
Other pieces included a variety of long flowing dresses and gowns with spectacularly sharp edges. One in particular was this black piece that actually flared out at a near 90 degree angle, came back in and flared out again. It was artistry in fashion form.
Some of these reviews were taken from my posts on the Papierdoll Blog.