PARIS: The start of haute couture week in Paris is a must on any self-respecting fashionista’s calendar. But day one of the French capital’s fall-winter 2012 shows was different: It’s what’s called a fashion event.
Monday was the debut of Christian Dior’s new designer Raf Simons – the first chance to see into the future of a storied powerhouse. He is only their fifth designer since Christian Dior founded the company in 1946.
The anticipation was evident in the front row turnout: a who’s who of influence, from Marc Jacobs to Donatella Versace, Pierre Cardin, Riccardo Tisci and Diane von Furstenberg.
Ever since last year’s dismissal of John Galliano, the house has been looking for a new, stronger direction. In Simons’ triumphant offering – which modernized the cinched waisted New Look – it would seem they’ve found it.
Haute couture is an artisan-based method of making clothes that dates back over 150 years. The highly expensive garments, shown in collections in Paris twice a year, are bought by a core group of no more than 100 rich women around the world.
Other shows on a busy day included Giambattista Valli, who also channeled 1950s silhouettes in tulip and A-line silhouettes.
Meanwhile, Moroccan-born designer Bouchra Jarrar went back to haute couture’s artisanal roots to produce an accomplished show of femininity.
Tuesday’s shows included Chanel and Armani Prive.
Say it with flowers.
That was the clear message from new designer Raf Simons in his 1950s-tinged haute couture debut for Christian Dior.
When the normally exuberant house first hired the Belgian designer, known for his minimalist and linear style, it raised eyebrows.
But Monday’s show will win many over.
He revitalized with panache the curved Dior “flower woman” silhouette.
It’s what Christian Dior, the man, used to describe his revolutionary 1947 New Look of cinched waists and full skirts that resembled inverted flowers.
One thing is certainly clear: Simons has done his homework.
In the four months since being named creative director, he’s delved deep into the house’s archives.
The result: a strong show in homage to Dior’s love of flowers, but never a servile one.
Simons owned it.
Fifty-four looks paraded through several sweet-scented salons, wall-to-wall in myriad multicolored flowers.
The first pieces were among the strongest. Simons truncated the New Look, pairing high-waisted A-line mini dresses with contemporary black pants.
These were followed by a series of clean A-line archive pieces in bright reds and pale pink. Their clean lines with large, hip-level pockets signaled a break from the vivacity of Simons’ predecessor, John Galliano.
Dior’s been looking for fresh direction ever since Galliano was sacked last year for a drunken anti-Semitic tirade. And this collection shows they’ve found their man.
Simons aimed to create a new kind of couture. He said it wasn’t “just about reaching for a typical satin duchesse, a silk. ... but new forms.”
This was definitely fresh territory.
One bright yellow, show-stopping evening dress might have come in silk, but its skintight sheer top exposed the model’s nipple ring.
Some of the looks in fur didn’t quite work, but the misses were outweighed by plays on traditional form.
In a clever touch, Simons transformed the Bar Jacket into a tuxedo-dress, turning its cupped pockets into a Madonna-style conical bra.
Simons’ show proves that change is a good thing. Now, Dior could well give Louis Vuitton and Hermes a run for their money.
Bouchra Jarrar is relishing her feminine side.
The lauded designer opened Paris’ haute couture week on a breeze of soft A-line silhouettes.
Jarrar’s 22 highly wearable dresses – in a gentle palette of lavender, black and white – floated by with clean draped collars and backs with effortless elegance.
But the simplicity of the collection was deceptive.
At work here was the atelier of the last great embroider, Francois Lesage, who passed away last year – a huge loss to Parisian fashion.
But here his techniques carried on.
A perfect example was on one silk georgette knee-length dress with a deep green flash of crepe de chine. Its hand-woven draped collar in tweed showed off couture’s accomplished fastidious technique.
“It was like magic,” added Jarrar. “[The atelier] worked with Lesage for 30 years: You can see it in the clothes.”
And you could.
Giambattista Valli explored the flora and fauna of Mother Nature in a cinched waisted 1950s offering.
Models in billowing floral creations of lightweight silk organza and muslin fluttered by Monday, some with butterflies covering their mouth.
His signature style of clothing – known to be uber-feminine – is rapidly building up a strong following among fashion’s glitterati.
And it was, of course, a VIP-filled front row.
“I’m dying to get into one of those dresses,” gushed Jessica Stam, one of the world’s highest paid models. “I just loved those butterflies.”
The vibrant show was all about prints. For the garden, tulip-shaped or A-line skirts were covered in rose prints.
The silhouettes at times had a distinct feel of Christian Dior’s 1950s looks – this generating, on more than one occasion, shocked gasps from fashionistas in the audience.
There were some sublime looks. In several ensembles the models’ head disappeared in the voluminous, petal-like muslin ruffles.
But Valli took it too far.
One bizarre green feathered evening dress, the program notes described as “wild grass.” It looked more like a hedge needing a trim.
Bohemian belles in feathers and sparkling faux-tweed glided past the white wicker tables of an old world spa as Chanel put its own spin on the vintage craze at the Paris haute couture shows Tuesday.
Chanel’s designer Karl Lagerfeld took over a disused wing of Paris’ Grand Palais exhibition hall – his venue of choice – with a decor of black-and-white sketched doors and a giant fresco meant to suggest a genteel thermal resort.
Bejewelled snoods on their hair, Chanel’s women stepped out in daysuits of glittering faux tweed, grey with touches of pink, crafted from wool, tulle, wool and pearls and each one some 3,000 hours in the making.
With elongated silhouettes, with skirts cut “a hand above the knee” and slender evening gowns slashed open or cut low at the back, Lagerfeld said the look was a nod to the fashionista appetite for vintage Chanel.
“My own suits from 30 years ago, you can buy them like vintage,” he told reporters after the show.
“‘New Vintage’ is a proposition for something that could last – at least I hope so,” he explained. “This is the same attitude, the same spirit, the same name, same concept – but something for our time.”
“Vintage – but it’s not vintage yet. You can have it before it’s vintage!” quipped the spirited German designer.
“Plus, ‘New Vintage’ has a nice ring to it!”
So how long before the new collection can be stamped as vintage, with the prestige and premium that applies? Ten years?
“In fashion the future is six months,” Lagerfeld mused.