Riccardo Tisci takes Givenchy in a new direction, Cara Delevingne dances down the Stella McCartney runway, and Maison Martin Margiela falls short. Plus, more from the Paris catwalks.
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Hedi Slimane's latest collection for Saint Laurent smelled a lot like Teen Spirit, with sixties inspired minidresses, plaid skirts, and peacoats designed perfectly for the angsty school girl. The pieces resonated with Slimane's newfound grunge aesthetic for the brand, and, finally, after four ready-to-wear seasons designing for Saint Laurent, his collection was well-received by critics. Things were very "teenager in Los Angeles"—velvet dresses with white Peter Pan collars featured bejeweled buttons; tweed suits were revamped for the youthful set with short hemlines and cropped blazers; clashing patterns were mixed in a surprisingly harmonious way: leopared with a teal-based floral, brown-and-red polka dots with tan fur, and black and white stripes with an array of gilded sequins. Between the playful capes and embellished Mary-Jane's and riding boots, it was clear the Saint Laurent girl was ready to show the kids at school who's boss. Plus, the three dresses were a sampling of ten limited-edition couture numbers created with California artist John Baldessari. It was art on the runway in the most literal sense. Slimane may have finally done Yves proud.
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Stella McCartney knows that girls just wanna have fun, so it was no surprise that Cara Delevingne and Joan Smalls came dancing down the runway as the Fall/Winter 2014 came to a close. The cuts and colors of the collection were simple, yet luxurious and appealing none the less. A majority of the pieces featured metal adornments molded into interesting shapes, transforming a simple black coat, silk button-downs, and a green button-down shirt dress from seemingly simple pieces into ones that made a statement. The sportswear element of McCartney's collection was readily evident in the form of oversized parkas, leggings, track pants, and patent leather platform sneakers. It's true, the Stella girl can be street on top of chic. The latter half of the collection was dominated by knitwear: a grey sweatshirt and oversized wool coat had Holiday-inspired embellishments, a navy skirt and sweater featured green stitching, and a red and maroon tie-dyed, v-neck sweater-dress was layered atop a vibrant red turtleneck. The final few looks featured draped fabrics: a multi-blue minidress, a black and green strapless top, and a red, black, and sparkling frock.
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Riccardo Tisci's latest collection for Givenchy was, in two words, a hit. "I was trying to turn a page, to do something different," the designer said. "I looked a lot at Hubert de Givenchy and what Givenchy was when he was designing it in the Fifties and Sixties. I thought about good cuts, good colours… I looked at [the photographer and architect] Carlo Mollino. I love his mix of elegance and eroticism." Tisci seemed to have abandoned the fashion sweatshirts of his design past for a more couture-like show of chiffon dresses, tailored suits, and knits presented in an unconventional way. The opening trio of frocks, which featured slightly voluminous sleeves, small ruffles, and an almost-regal seeming pattern, were cinched at the waist with nude leather belts. Next came a modernized-version of the suit with long, oversized blazers, silk button-downs, and high-waisted trousers with colored pockets. The furs, too, were done in such an impeccable way—model Ashleigh Good rocked a nude sequined top with fur sleeves and a coordinating furry pencil skirt; brown leather numbers were accented with matching fur. “The collection is about celebrating femininity and the rock woman,” Tisci said. “I’ve been doing the kind of young and more street look for so long, and I wanted to experiment with this woman who is feeling more like a woman.” And it was clear that Tisci's more elegant, avant-garde aesthetic suited him well.
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"She's wilder and more mysterious. She has an urban mystery," designer Clare Waight Keller said of the Fall/Winter 2014 Chloé girl. There were still many of the brand's staples, however, including light fabrics, pastel hues, soft silhouettes. Yet, certain pieces did deliver that "wild side," including a multi-colored leopard sweatshirt, a playful art-deco-esque button-down, and a leopard fur coats that featured subtle black, red, yellow, and orange stripes. Every variety of piece held its own, from the strong, structured outerwear to the soft and flowing frocks that featured slight embellishments—like the long-sleeved, navy blue number with gold, circular adornments on Elisabeth Erm, or the version in black worn by Lena Hardt. The knitwear was strong as well, from a white, feathery sweater to a slouchy ribbed sweatshirt paired with a silk skirt and tannish-green booties. The fabrics were luxurious, a mix of silk, fur, and chiffon, and the colors were, for the most part, soft hues of lavender, pink, and cream. Each aspect of the collection was feminine and wearable with the right element of surprise that keeps the Chloé customer coming back for more.
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Everything Phoebe Philo seems to touch turns to fashion gold, and her Fall/Winter 2014 collection for Céline was no exception. Philo dominated in the outerwear department, bien sur, transforming the simplest of colors and silhouettes into highly-covetable pieces: the black tailored coat with stark white buttons that hit just below the knee, the oversized white number with black detailing and frayed edges, and the camel-colored duster cinched with a fur belt were standouts of simplicity and structure. Aside from outerwear, every piece in the collection fell under the idea of “tough and tender,” as the designer described it. A light blue and white checked button-down was paired underneath an oversized tan knit; a navy blue frock was bedazzled with oddly-shaped gems; a marble-esque purple and grey coat sported yellow buttons. The accessories, a mainstay of Philo and Céline's, took an interesting turn this season—models carried fur scarves and mufflers or seemingly deconstructed bags in the shape of a tote or envelope clutch, and on their feet were ugly, in the prettiest way, chunky flatform sandals and ankle-high leather boots. It was minimalist with a subtle splash pizazz. It was masculine femininity.
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Kanye-approved Maison Martin Margiela seemed to have lost its way this season, producing a collection of dainty, English-countryside-inspired pieces. There were loosely-tailered separates, including plaid blazers and wide-leg pants, dresses that more or less hung on the body like a large slab of cotton fabric, and slouchy tanks that purposely fell off the shoulder. Other pieces, however, like the long, tailored riding jackets and more structured knits, were actually quite sophisticated, especially the ones that added a splash of color. The clothes were certainly wearable in a surprisingly feminine way. Is that a bad thing? Of course not. But for a house that has become widely popularized for sending its models down the runway in bejeweled masks, that may not be enough.
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Isabel Marant always has high-expectations set for her collection, after creating what has arguably become street style's most coveted and recognizable piece: the sneaker wedge. So, when Marant herself said she doesn't wear them anymore, eyes were peeled on her runway for the next big thing. For Fall/Winter 2014, it seems that the designer was looking towards baggy clothing and comfort. The typically Parisian collection was more deconstructed, a definite change from her usual aesthetic. Whether it was a successful variation of the brand is hard to tell. The baggy, painter-style pants were too oversized and ballooning to really be flattering and the accentuated shoulders were a difficult interpretation of the eighties power suit. Yet, the pieces that maintained Marant's aesthetic—the knitwear, the slightly ruffled frocks, and the latest version of her soon-to-be must-have footwear—were flattering and stylish, albeit predictable.
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Underneath rainbow-colored LED lights, Dior's Fall/Winter 2014 collection made its own splash on the runway. A parade of bold colors—think bright blue, yellow, and pink—paraded down the catwalk as models sported looks that featured sharp tailoring, silhouettes that allowed for movement, and ensembles that were an impeccable balance of Raf Simons's menswear background and Dior's strong feminine aesthetic. "I wanted to propose a new woman," Simons said. "A woman with power and energy in a very definite way. It's an idea of the romantic and the real, a world of possibilities." The possibilites were endless, too, with an art-inspired color palette and shapes meant for the powerful woman: there were sleek suit sets compried of buttoned blazers and tailored trousers. One dress matched a pale pink quilted top with a sideways high-low red skirt; another layered an orange mini-dress beneath silts of cobalt fabrics. It was romantic in the most vibrant and urban way, and in certain aspects, seemed created for a younger-than-usual audience. Ninties-inspired gowns were paired atop white t-shirts à la Cher Horowitz; cocktail dresses packed a punch with voluminous skirts and sleeves; a short-sleeved, peplum sweatshirt was embellished with sequins. It was seemingly for a new Dior woman—and boy, does she seem like fun.
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Designer Alber Elbaz presented a collection for Lanvin that was "extreme and extravagant," as he described it. The extravagance, however, was in no ways outrageous. Rather, it was accentuated through flowing fabrics, soft silhouettes, and headwear, which hid most of the models' faces from the audience. The differing textures were most notably extreme—overly fringed pieces opened the show, followed by clothes with leather pleating and fur, used as both an adornment to other pieces as well as its own fabric. The collection seemed appropriate for a brand celebrating its 125th anniversary, with subtle nods to the label's past mixed with an edgier, more modern aesthetic. Classic tweeds were updated with fringed edges and loose silhouettes; silky shifts were edged with slight embellishments; voluminous sleeves and hips were ever present on both sweatshirts and skirts. The palette was dark—black, navy, deep green—but nevertheless provided for a sophisticated collection that celebrates the last 125 years, as well as the next 125 to come.
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Balmain designer Olivier Rousteing presented a luxurious Fall/Winter 2014 collection inspired by freedom: "Freedom of races, freedom of aesthetics," he said. But there were more structured motifs there: military references, tribal patterns, hints at animals, the jungle, and the wild. Jourdan Dunn opened the show in a bulky, yet tailored, camel-colored leather jacket, reminiscent of Indiana Jones. That strong sense continued through the collection, meshing the idea of high-fashion with adventure. The intricate detailining and crafstmanship was impeccable, and each piece seemed to have countless rich elements—there was leather detailing that resembled chains, metallic strips on skirts, and even a utilitarian vest with fur sleeves. The mix of bright furs—orange and yellow—with leopard spots and zebra stripes could have easily been a patterned mess. Instead, Rousteing used the pops of color to add a glamorous twist to the army green, brown, and black collection. It was a freedom of expression in the most unique and chic way. "I'm going to send a message to the world with fashion. Which is my job," the designer said. "I am not just only doing clothes I am screaming really loudly for freedom and I am using my clothes to make this happen. This collection is all about mixing, it is my new jungle story. All the girls are from everywhere and they are screaming very loudly freedom, and open your mind—it's fashion."
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Outerwear dominated Carven's Fall/Winter 2014 runway, with sleek, 1940s-inspired coats. The show opened with two magenta numbers, a Peter Pan collar dress and a short jacket with an ankle-length skirt, which set off a series of brightly colored pieces. Jackets that resembled dresses in solid colors with exposed zippers were paired with leopard-print collars. An abstract, floral pattern decorated dresses and coats. Silhouettes were simple, colors were not daring, and everything in the collection was wearable. Some of the later pieces were printed with hands or arrows, allowing for the right amount of quirk to balance out something so soft.
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The third time may actually be a charm. Presenting his third collection for Balenciaga on Thursday, it seems that Alexander Wang has officially found his place. Audiences tend to have high expectations for Wang, whose own label's New York show has become one of the most-anticipated. Yet, when Wang, took the reins at Balenciaga following Nicolas Ghesquiere's exit, things fell short. The designer met with mixed reviews, facing criticism that things just weren't as good as his own line, or as his predecessor's designs. Yet in the Fall/Winter 2014 collection, it was clear that Wang has finally determined the appropriate mix of his namesake line's aesthetic with that of Balenciaga's historic legacy. Outerwear was sleek and sculptural, long-sleeved dress and tops featured voluminous sleeves, and all pieces had the sportswear vibe that resonanted throughout Wang's Fall/Winter 2014 collection—zippers were exposed and blocks of contrasting color created a duck-tape like pattern on parkas. "I realised there was an absence of knitwear in Cristobal's [Balenciaga] vocabulary" Wang said. "I wanted to experiment with all aspects of it." And knitwear certainly dominated the collection in an array of shapes, colors, and patterns that proved knits could be worn during the day or at night. Mixing textures also played a large part in the majority of pieces: latex, leather, knits, jersey, and fur were all paired in a variety of combinations. Wang also presented playful "Shopping Bag" bags—they were the perfect mix of fun and luxury, kind of like Wang's entire vision for Balenciaga.
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Vionnet designer Goga Ashkenazi presented his latest collection, dubbed "architecture versus nature," in Paris's Tuileries surrounded by 20,000 tulips. The thematic elements made sense—the clothing, not so much. There were dresses, coats, and separates crafted out of large pieces of felt that seemed a bit overwhelming. Even when used as accents on, say, a flowing silk gown or as a peplum on a fitted blouse, the fabric was too structured and dominating to assimilate appropriately with other textures. Until the final four looks, pieces were too oversized, draped excessively, and too quirky to truly feel like a cohesive, and moreover wearable, collection. The last pieces, four flowing, bias-cut gowns, were soft and alluring—perhaps Ashkenazi will follow this direction for her next collection and bring more life to Madeleine Vionnet's legacy.
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King of black, Gareth Pugh, ditched his signature hue completely for his Fall/Winter 2014 collection. This time, Pugh presented pieces strictly in shades of white, focusing more on shape and texture than color palette. With the all-encompassing, tube-like turtlenecks, dresses that resembled trash bags, and trousers that also served as boots, it's hard to remember that the designer's last collection was actually veering the brand onto a more wearable path. That was certainly not the case this season. Pieces that were reminiscent of a DIY project paraded down the runway—there were structured, oddly-shaped separates that resembled tin foil, dresses constructed from wrapped plastic, and fluffy, cloud-like tailored coats and dresses. Accesories were equally as wild—models were adorned in Pharrel-esque top hats, thick hair nets, and turnkeys attached to some of their backs, making them look like wind-up dolls. Yet despite the strange cuts and fabrics, many of Pugh's pieces were crafted quite beautifully, including the opening number, a tailored white dress with a flared skirt, as well as many of the sleek pieces of outerwear and capes that followed.
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Alessandro Dell'Acqua presented his debut collection for Rochas Wednesday, replacing creative director Marco Zanini, who left the brand to revive the house of Schiaparelli in September. Dell'Acqua brought his couture background to the table, delivering a strong series of ready-to-wear pieces that were intricately embellished and designed with a strong eye for craftsmanship. Wool peplum tops were paired with loose, knee-length silk skirts, thick coats were layered atop other thick coats atop thick dresses, and a-line PVC skirts were matched with jewel-adorned button-downs. The dress coats—particularly a navy one printed with velvet flowers and a voluminous teal number with spiked detailing along the collar—were stand out pieces. Rochas's accessories, too, brought that cool, street-style vibe that Rochas seems to know how to deliver (think last season's feather duster flats): there were elbow-length, leather gloves in bright colors, embellished heels, and modern cat-eye sunglasses with reflective lenses. The final looks, a series of dark, floral-meets-brocade billowing dresses and skirts could have been right in theory, but were oversized in a way that seemed to swallow the models. It was unfortunate that the cuts and volume were so severe, as the fabrics were actually quite beautiful. "Rochas is very French," the designer said. And while it may not be as well recognized as some of its Paris Fashion Week competitors, as Dell'Acqua continues to ease into his new gig, it will certainly develop into a force worth noticing.
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It was an art explosion at Dries Van Noten's Fall/Winter 2014 collection—or, as the designer described, “It’s a lot of things: unexpected elegance, bright colors, two-dimensional flowers, chic shoes—and Bridget Riley.” The Belgian designer, who is the subject of an upcoming exhibit at Paris's Musée des Arts Décoratifs, introduced a balanced mix of the classic Dries Van Noten aesthetic with cool and new modern touches. Bright and bold graphics in the form of stripes, flowers, and zig-zags adorned structured outerwear, bias-cut dresses, and silky, pajama-style pants—making the Riley's op-art influence highly-evident. Purples, oranges, blues, greens, and yellows joined to create a playful palette. “I wanted to do color, I wanted to do fun, so we called it ‘Coutorama,’” Van Noten said. “It’s sharp lines of graphic motifs, it’s acids, it’s raves... I wanted the human to come through.”
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Inspired by illustrator Tony Viramontes, Anthony Vaccarello delivered a very eighties Fall/Winter 2014 collection featuring structured leather jackets, itsy-bitsy hip-hugging dresses, and pleated, work-style trousers (a surprise for the mini-skirt-loving designer). Belgian-born Vaccarrello, who was recently tapped by Donatella Versace to design Versus Versace's next capsule collection, continued to stick to the overly-sexified aesthetic that seems to serve him well (his clothes are a favorite of Rihanna, Gwyneth Paltrow, and supermodel Anja Rubik, who, as always, pranced down the runway—this time, donning a see-through black top under a floor-length silk coat and skirt). This season, however, Vaccarello seemed to push his boundaries, showing oversized outerwear, chunky knits, and the aforementioned tailored pants, amongst his slinky dresses and slit skirts.
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