Silverscreen cult favorite Nikita, Luc Besson’s femme fatale of the 90′s, was Jan Boelo’s inspiration for his fall winter 2013 collection entitled Deserted Eagle. Within Temptation’s singer Sharon ten Adel performed live during the show and that also set the tone for the vibe that surrounded the clothes: rock’n roll. Boelo’s new collection showcased skinny men’s and women’s metallics, tailored blazers and a-symmetrical cut dresses. There was also oversized outerwear, corduroy suits and ballet-inspired cross-over tops. Fringes, hats and wrapped scarves gave it all a bohemian look and feel.
After working so hard at her Prada collection, the designer Miucca Prada wanted something visual and sporty for her Miu Miu-collection. But also something that was a bit frivolous and romantic at the end. But why she did what she did the designer could not explain. It was just instinct she told the press.
The silhouette she presented was new for-Miu Miu with the long coats and sweaters worn over longer skirts that revealed the ankle. The look seemed rooted in conservative, early 1900s nostalgia. One ensemble — a fitted black jacket with big round buttons and orange astrakhan collar, worn over a polka-dot skirt with an orange ostrich carpet bag and silver Mary Janes — brought to mind Mary Poppins.
There were sporty jackets and belted bodices cut out of quilted navy-blue nylon with pronounced zippers, big pockets and ribbed knit cuffs and hems. The clownish motifs that were used sparingly as styling effects at first, escalated to full looks by the finale of chic cut coats in pink, yellow and baby blue.
That was grunge-de-luxe what Marc Jacobs designed for Louis Vuitton. A bit ironic and provocative, but in a beautiful and sensual way. And melancholic. The set was a circular “hotel” constructed within the vast tent pitched in a Louvre courtyard. The wallpapered corridor housed 50 closed doors which the models opened and exited. The audience became voyeurs, as each “room” featured projections of hotel guests lounging and getting dressed, unaware of the scores of peering eyes.
Jacobs focused on the intimate sartorial gesture: slips, pajamas, robes de chambre. These were paired with some of the season’s best coats and jackets, worn in odd combinations — proportions deliberately awkward, colors sometimes off.
The pieces were gorgeous: a herringbone pattern made entirely of embroidered sequins; voluptuous robes lined in marabou. Some coats came in cashmere with deep borders of dégradé sequins; others, in thick silk printed to resemble English tweeds.
Of course, there were Vuitton bags – but without a logo in sight. Jacobs interpreted the house’s classic shapes in tony materials — croc, python, mink and hand-curled goose feathers — often finished with carved ebony or wooden handles.
Arriving under the glass dome of the Grand Palais, Chanel-guests found a huge globe of the world, illuminated with countless points of light, 300 of which bore CC markers indicating the brand’s points of fashion distribution around the world.
Lagerfeld’s fashion message was a statement of sartorial strength based on bold, graphic silhouettes in different fabrics, most with major surface interest. A few concepts repeated throughout: “the one-piece suit” — actually a coat with a flange at the hips, which, when closed, gave the appearance of a jacket and skirt, and “the double skirt,” which unzipped from the bottom up revealing a second layer beneath.
Coats and jackets were mostly loose and at times bulky, particularly A-shapes that had both structure and swing over skirts that followed a similar line. Dropped-torso dresses combined fabrics in horizontal blocks of three; long coats were cut away in front. As for those textures, Lagerfeld favored winter-weight fabrics.
In the collection she showed today Stella McCartney manipulated pinstripes into something new and engaging, without getting too androgyn.
McCartney opened with tailoring manipulated via creative draping. She twisted and cut an ultrachic jacket, which resulted in an uneven hem. This went over a long, front-draped skirt in a narrower pinstripe. She then ran with the pattern in various widths, going softer in dresses and dressed down in a big parka and loose sweaters.
The comfort factor continued in big coats and a luxe jogging suit and boxy tartans-meets-denim jacket over a skirt that had a school-girl appeal. And she turned the always-inviting sweater dress sexy by splicing it with lace.
Evening offered nods to the smoking as well as wonderfully languid options.
In the Celine collection she showed on Sunday, Phoebe Philo took a feminine turn without leaving the no-nonsense chic behind. It was a chic minimalism with elements from the Nineties and Forties. The powerdressing was in the loose, geometric shapes for anything that fell from the shoulders (coats, tops, dresses) and winter-weight woolens that were elegantly. Chic were the girly conservative flirt skirts that flared out over the knees. Wide, cocoonlike stoles were the finishing touch and the palette of gray and black was softened by peach, pink and ivory. Philo got daring with the tablecloth plaids — bright blue over red — for a top and skirt.
As for the bags: soft rectangles in both leather and the same woolen fabrics as the clothes, which the models held tight to their torsos.
Humberto Leon and Carol Lim took inspiration from Asian temples — Indian, Nepalese and Chinese — for their fall collection for Kenzo. The theme included opulent fabrics flush with metallic, such as gold jacquard and flocked lamé that looked like crocodile. They decorated outfits with a cool but cheesy eye motif, shown head-to-toe on a tailored jacket, skinny pants and open-toe booties.
Tjhere was a lot of decoration, but the clothes were kept quiet. They were cut with vaguely Asian references — robe coats; short, precision-wrap skirts, and shirts with crisp, wide short sleeves — worked in understandable silhouettes that are very contemporary.
No firework at Viktor & Rolf, but a strong collection full with clothes that were accessible for a lot of women. With beautiful legs, that is. Since the biggest part of the fall collection was leaning on short skirts and dresses. It looked young and fresh, almost as if a young girl tried to modify her clothes herself by cutting and ripping it and putting it together again with lace inserts and embroideries. It was a mix of bouncy sportswear, serious power-dressing and modern sculptured silhouettes. The designers sticked to a black-and-white palette and occasionally injected a subtle Sixties London vibe. Fanciful touches came via overstated bows, from a giant one on the neckline of a white shirt to another on the shoulder of a gown.
How many times can a designer reinvent his most successful pieces? At Jean Paul Gaultier it never stops as the French designer went along and introduced new versions of his famous cone-bra, trenchcoats and black & white stripes. He stepped away from the over the top eighties tribute he gave last season and toned it down a bit. Although it still was a full on JPG show with nothing but real show pieces. Strong bustier jackets, leather tops with a bandeau of fur, pop-y shadow prints on dresses and vests, floorsweeping, deep colored, plisse dresses and a series of metallic statement looks to close the show. Apart from Madonna, Dita von Teese or Gaga making a huge cone-bra/bustier order we assume those strong jackets will generate the biggest part of sales for upcoming fall.
Since Martin himself is no longer on board Maison Martin Margiela has been rediscovering itself. Today’s collection was proof of that as it was not the most coherent line up. Yet the fashion house did present some strong designs that proudly carried the name of the French fashion label. Oversize and menswear seemed to be the red line in the show the houses described as a “rally” in the show notes. Overall, suits, pinstripe waistcoats (and quite a few other ones – patent leather and fur – too). Black and white looks were given a hand painted yellow or pink twist as more color followed on patent orange and red leather and strangely crafted, multicolored mesh tops. The finale of floor sweeping panel dresses that seemed to have some kind of ad texts on them appeared to be a whole other chapter of the Margiela fall collection.