Haider Ackermann’s showcase, held a few days ago during Paris Fashion Week, was a marvelous intertwining of timeless elegance, juicy constructivism and bad-ass chic. The collection was a savory mix of classic, flamboyant and edgy pieces which resulted in overthrowing the imagination of even the most conservative spectator. The crowd was left in awe, mesmerized, dazed and confused.

Designing this collection, the artist successfully toyed around with numberless long-forgotten trends, styles and types of cuts, coming up with a fantastic, fresh series of volumes, plies and drapes. For the maxi effect he matched clashing textures, whilst keeping a more subtle, fluid choice of nuances for each outfit. For such a daring collection, the toned down color palette made it a lot less intimidating and more accessible for the public.

Of course, the overall impact was fascinating, but at a closer look, what really made this show fabulous were the details. There’s true art and majesty in the lines and proportions of the cuts. The embellishment of muse-like elongated silhouettes, wasp waists and delicate necklines was the result of astute observations on behalf of the artist of the human body and its movement. Ackermann had a well-defined image of the type of woman he wanted to portray, and he succeeded magnificently in transposing her on the catwalk.

The architectural dimension of the jackets, for instance, perfectly compliments the fragile feminine figure, while also shedding a new type of light upon it, making it utterly mysterious and alluring. Oversized rounded shoulders vaguely reminisce of Audrey Hepburn’s lovely bubble coats, waist-cut blazers bring back to memory men’s old school sartorial pieces, while futuristic leather jackets dash the right amount of sensuality and spice.

There’s an underlying dark twist to the whole scene and it’s exquisite! These modern vamps are equally sophisticated and rebellious, refined and dangerous. Borderline- shocking tailoring paired up with red lipstick and messy hair are the perfect finishes. With a hint of eccentricity, and a dab of glamour, a femme fatale icon is created.

The Croce sisters, Barbara and Lucia,  delighted the audience at their first A/W collection for Vionnet during Paris Fashion week with an ambrosial glance to the past. The duo -who both share a history in fashion powerhouses including Miu Miu, Valentino, and Ralph Lauren amongst others – replaced Rodolfo Paglialunga as creative directors, and since their arrival the house has travelled back in time to the days of Madeleine Vionnet herself with the right touch of novelty; conscientious cuts, perfect fabrics  and the infallible philosophy of dressing the woman versus the mere construction of clothes, made this collection somewhat revolutionary in the storyline of the maison’s biography.  

In contrast to what drove Paglialunga during his tenure – the unforgettable sumptuous evening dresses adept of red carpet events – the Croce sisters focused on day wear, focusing on modern day Miss Vionnets -professional women who are sensual and feminine but never in a vulgar manner, as Barbara adds.

The stylistic codes  of the collection are essentially based on the historical archives of the house. Intrasio, the process of mixing and blending by inlaying one fabric into one  another, was a signature established by Madeleine Vionnet herself. This, together with the legendary bias cuts and the quintessentially classic geometric draping techniques have produced a simpler, more refreshing collection in contrast to the elaborate constructions, mostly involving peplums and corsetery,  that are dominating most catwalks.  

The collection was based on contrasts between hard and soft fabrics  moulded together in intrasio; so wool, alpaca furs, gabardines mixed delicately with chiffon, light organza, the ever-present crepe de chine and georgette to create eye defying designs. A look that initially resembles an ensemble of a sweater and skirt is actually a dress created out of a fusion of draping techniques. The knits play some trompe l’oeils as well, where fabrics are precisely woven to impersonate marqueterie. The furs continue along this line through the combination of long haired fox fur and sheared beaver, and the different shades of marmot merging on the hem of a swing-coat.

It can be said that the fabrics lose their essence in this collection, where even leather is an extremely supple fabric and plays graceful around the curves of the body, and jackets drape effortlessly  like silk curtains. This only aids the movement of the outfits: picturesque undulating hems that respect the nature of the fabrics, tunics that have ultra-sensual openings at the spine and resemble wings in movement, and deep tailored cuts that echo throughout the entire show.

The evening gowns, after seeking reference to the bias cut, were simple in essence, created mainly from draping fabrics around the models. They were at times delicately embellished with mosaic-like sequins made of stone or broken glass. Not to mention, the  slinky asymmetric lines  to balance the irregular and jagged hems. There were a lot of trousers in the collection with that varied from skinny cuts to sinuous drapes, billowing either translucent or opaque fabrics.

The color palette contained sober natural hues of walnut, deep mahogany, grey and camel, with sharp,exciting touches of  vivid shades of cobalt, acid chartreuse coral and lapis blue.

It is clear that the Croce sisters have opened a new chapter in the story of Vionnet: translating ancient looks into contemporary styles, and steering away from current trends and creating new ones, keeping in mind tradition.

There’s a fine line between chic and kitsch. Proof of this statement was served at the new fall collection of John Galliano‘s namesake label. Namely, this has been second solo fashion show for head designer Bill Gaytten since John Galliano left, and, for the second time, Gaytten has proved to be a worthy successor. Looking at individual garments, there’s something for everyone, but observing whole outfits – it’s not for anyone.

Models gracefully presented outfits influenced by British sophistication and stylish riding apparel. In a way, ensembles are conservative, but the designer played with accessories and some looks have their fetishistic side. Thigh-high tights and ruffled collars are leitmotifs that permeate through majority of combinations. Dresses and coats have been cut into unusual shapes and various materials were used. Most wearable pieces are probably coats and blouses, again with ruffled collars and some kinds of bows. Pleated dresses are very extravagant and certainly something to wear next season. Like many creators in their fall collections, Gaytten did not leave out fur coat sleeves. However, with velvet cropped trousers, oversized hats, stockings and sheer dresses (some of which are 100% see-through,) he showed why Galliano is like no other brand. Also, he certainly knows what “save the best for last” means. Yes, it’s the flamboyant red duo – dress and cape, saved for the thrilling finale. Red swaying cloak over black leotard is surprising Little Red Riding Hood moment, but this time not from children’s books.

The color palette is miscellaneous – brown, royal blue, mustard, cinnamon, grey and unforgettable red. Huge hats, stockings, leather gloves and lace-up booties were accessories added to complete almost every look.

This autumnal Galliano collection is, as stated at the beginning, definitely not for everyone. One must have courage and occasion to wear some pieces individually, but even more boldness to pull off the whole runway look.

The ‘New World’ where humans coexist with androids and robots, where society is pioneered by artificial intelligence, where everything is mysteriously unknown has finally been unveiled to us by designer Nicolas Andreas Taralis. Taralis takes us on a daring journey through a artificial and futuristic time with this latest collection. 

Unlike many others, Taralis was able to create this sci-fi realm without having to rely on an avante-garde touch, and he was able to create a futuristic line that is actually wearable. His line started with a white monochrome dress paired with futuristic boots that slowly transitioned its way into an all-black ensemble. The colors and patterns remained plain and simple drawing more attention towards the many different layers of transparent jersey cotton, diaphanous muslin, Velcro strips, coarse wool, and washed-out leather. 

Taralis gave us a taste of the once-distant future where humans and robots can coexist, a world where artificial intelligence runs society, and a world now revealed and now closer than ever.

Stella McCartney’s collection has been spotted on the French runway and rumor has it, the designer outdid herself this time.
The trademarks of Stella are the highly innovative fabrics that she uses and sculptural silhouettes evolving in the masculine/feminine theme. More than ever, she relies on volumes, which convey a special 3D feeling to the outfits. Still fluid and extremely wearable, the collection explores a women’s desire to be sexy, unforgettable but also comfortable.

The show starts with coats, masculine tailoring and exaggerated features, emphasizing new proportions. Slopping shoulders coats and Stella’s already famous tuxedo jacket, are worn with soft, high-waisted pants. However, the true sensation of this year’s Autumn/Winter are the dresses, cut to show, perfectly the outline of the body, with inserts of point d’esprit that lead to a surrealist approach. Also, to our attention are brought, the beloved polka dots, used on all sorts of pieces, adding a playful touch to the intriguing transparent pants.

The palette of colors varies from the elegant black to midnight blue and reaches light shades such as ivory. Let us not forget gold a color very loved in this year’s collection and dare to say, omnipresent on the runways. When it comes to fabrics, the most beautiful visual is of the hand embroidered spots floating on the transparent tulle, but also luxurious silk and pressed velvet.

Accessories echo the message of the entire collection, through black and nude Mary Janes, masculine loafers and box-shaped clutches.

Masculine or feminine, volumes or sexy silhouettes, nothing matters anymore when Stella McCartney leaves her special mark on these clothes.

Nicola Formichetti unveiled his first women’s collection in Paris as the newly appointed Creative Director for Mugler. Together with Mugler Music Director, Lady Gaga (the government hooker herself), the duo created an out-of-this-world fashion show that was meant to be experienced with all senses.

This collection is a sexy and sinister concoction. It glamorizes the alien-like metamorphosis of the bones and blood of the human anatomy. Thierry Mugler’s signature high and peaking pagoda-like shoulders made a return as well as his killer meldings of plastic, rubber, neoprene, latex, PVC, and sheer nylons. The silhouettes were that of an actual human body for the clothes laid snug and tight as if it were natural layer of extra skin. A few “post human androids” strutted bare-chested in mesh while others wore bone and membrane-like panels exaggerating Formechetti’s creative distortions of their human limbs. The colors remained simple with black, white, and an occasional blue, and green directing more emphasis towards the different textures and materials.

What came through as most enthralling was the pop icon’s final walk. She was adorned with an all-white monotone ensemble that included a corset, body suit, skirt, hat, and sky-high platforms. With her latest single, “Born This Way,” blasting in the background, the android goddess stormed through the gothic arches with extreme power and force showcasing what Formichetti aimed to underline: the empowerment of women and the spirit of being free.

Stripping this fashion “experience” of its music, theatricality, lighting, and infamous Gaga Effect, Formechetti’s collection failed to take us back or anywhere near Thierry Mugler’s original, dream-like world created in the early 1970’s. This strange yet ethereal collection did, however, succeed in creating a strong and solid start for a new generation of Mugler.

The eternally controversial designer Jean Paul Gaultier set the stage on fire and re-branded fashion yet again while presenting his S/S 2011 collection in Paris.

Everyone familiar with the French designer instantly associates his clothes with humor and an extremely showy cleverness, with a mixture of a tom boy attitude. And this enigmatic creative genius didn’t fail at it. One could say his collection seemed from the overall post modern past become superficially the norm once again, with red leather boots and jackets, red leather bloomers and ruffled satin dresses with lots of lace, adding a flirtatious and elegant look to the Rock “n” Roll attitude.

Gaultier, known best for his zest for film-star glamour by designing wardrobes for many famous movies, delivered a 3 dimensional view to the cat walk by adding 3D shades. Starting off with outstanding laser cut stars and planets printed on satin dresses. Adding strips and triangles to the jumpsuits, it took everyone’s breath away to say the least! Added to it came the chick outfits of futuristic leather jackets with squared-off shoulders and pants with the rock star attitude, yet seductive in lace body stockings in all colors. With embroidered flowers complimented by scarves in most of his outfits.The art of re-invention could not have been better portrayed.

Sheer draped lace pants and jumpsuits blazed glamour to the theme, while his signature trench coats came with accordion draping, reminiscing balloon skirts. Outfits that could be worn day and night. His palm-print dresses influenced with metallic green featured an amazing color combination, As he accessorized it with grey jackets with  black and white stilettos. His black draped lace dresses where just as striking. And over all Jean Paul Gaultier’s personality was captured throughout the collection. Liberating the under garment and recreating it as an outerwear, improvising a feminine splendor  to a rebel rock star, a starstruck collection of love and passion!

Stereotypes are prominent in every niche of fashion, and haute couture lacks immunity. When the ramp tenders the contradictory to what is expected, individuals will take notice. Bouchra Jarrar realized this in her latest show in Paris. It lacked the boisterous being that has become synonymous with haute couture, instead offering high garment dexterity pinned with realism in matters pertaining to use.

Her collection is meticulously composed on a pedestal of plunging V shaped necklines. They are harmonized with crisp borders emphasizing the discipline that she is seeking to exude in her work. The collection is streamlined in shape and in her decision to restrict use of color to blacks, blues and ecru. The aggregate of her endeavor is clean bordered palettes that are christened with flashes of gold superfluities that paralleled the foundation of her collection; plunging necklines.

Her designs, which is released under her signature label, gained accolade in their individualism at the Paris Haute Couture Fashion Week. Jarrar chose to exploit the grandiose in simplicity and minimalism; a trait that remains a niche skill, and may be seen as incongruity amongst the stereotypes of this segment in the industry.

The end result is suggestive of the 1920’s being a focal point in inspiration, but Jarrar maintains that her work is aimed at offering ideal apparel for the modern woman’s needs rather than focusing on a period. Designing around the notion of need, is perhaps, a new leaf in haute couture.