Chloé Spring/Summer 2016 ready-to-wear collection – Paris Fashion Week

01/10/201501/10/2015 | Syuzena Pitz

Chloé threw something of a curveball today,01. October 2015. Instead of the wistful silhouettes came tracksuits, sporting stripes and carnival colours referencing a different dimension of the 70ies, the decade the house continues to reinvent so well. It’s not what you would immediately associate with the romantic Chloé girl, but as Clare Waight Keller explained after the show, this was about finding a new optimism.The usual lace slips were grounded with jogging bottoms; the signature cheesecloth maxi-dresses came not in cornflower blue and toffee hues but in sherbet shades; and bootcuts were replaced by easy, low-slung harem pants. It was relaxed and easy, as though Chloé’s girl was a girl on her gap year . Chloé unveiled us very youthful,really sophisticated high summer collection

Vionnet Spring/Summer 2016 ready-to-wear collection – Paris Fashion Week

01/10/201501/10/2015 | Syuzena Pitz

According to the press notes at the show, the new Vionnet collection was inspired by curves and by dancing. That’s the thing about semiotics, though: To each her own! An alternative reading of Goga Ashkenazi’s latest outing for the label was vestal virgins circa 2500 A.D. attending a postapocalyptic prom. That seemed as coherent a logic as any for this rather daffy group of clothes, what with the gartered bodysuits and sheer, floor-sweeping overskirts, plissé gowns worn with backpacks, and feral leathers and capes.

The plissé and the Grecian draping were a nod to Madeleine Vionnet, of course, and she would have had no trouble identifying her handwriting in a simple column dress of draped nude and ivory silk, or in the bone white draped frock with jewelry embellishment modeled at the close of the show by Saskia de Brauw. She might even have nodded in recognition at a micro-mini plissé dress—an ace look for a would-be modern Artemis. There were other nice pieces scattered throughout—the fabrics here were choice, and it was hard not to like most of them—but the button-down-plus-bubble-skirt and bodysuit-plus-anything propositions were a seriously hard sell. Ashkenazi appears to want to update the Vionnet formula, make it seem aggressively modern; the trouble with that is, Madeleine Vionnet’s ideas are timeless and look modern still. Witness the appeal of the simplest, most signature Vionnet looks here.

Rochas Spring/Summer 2016 ready-to-wear collection – Paris Fashion Week

01/10/2015 | Syuzena Pitz

Bold, decorative flashes of colour was the added ingredient that Rocha’s designer Alessandro Dell’Acqua used to set off the signature huge-volume styles that’s made the house such a hit in recent years.

All the colours of the rainbow were used in silky sheens in an oversized, double-breasted coat, or, after, on a 20ies shift dress — riffing off the codes of the house founded in 1925 by the late Marcel Rochas. Giant bows came in burnt sienna, black and white and graced funky trapeze silhouette gowns.Pointy stilettos came with a large tulle puff in colours that each time mirrored hues used in the rest of the outfit.

Rochas has sometimes been compared to couture -or demi-couture- and in Wednesday’s show it was clear why — an incredible gathered floor-length gown in pale oyster-white with a dropped hem possessed a ravishing swagger as the model moved.

Dries Van Noten Spring/Summer 2016 ready-to-wear collection – Paris Fashion Week

30/09/201530/09/2015 | Syuzena Pitz

“This season it was really about the flamboyant woman – she’s not just eccentric, because that can be old with 25 cats,” said Van Noten backstage. “She wants to live, she wants to show herself, she wants to enjoy life. She knows how to mix things and she dares to.”

A master of mixing things up himself, today’s show saw one of Noten’s personal passions realised: to have a live orchestra play the score to his show – a familiar yet distorted melody with a punchy baseline.

Clashing teal with mustard, purple with hot pink, orange with gold, and ,and and…, it was a positive riot of juxtapositions ,and that’s before the fabrics even come into it. Raised jacquards, satin ruffles, embellished tweed checks and lashings of pleated, tiered and frilled tulle – it was the grown-up equivalent of raiding the dressing-up box, although under Noten’s watchful eye, the result looks really good.

Maison Margiela Spring/Summer 2016 ready-to-wear collection designed by John Galliano – Paris Fashion Week

30/09/201503/10/2015 | Syuzena Pitz

John Galliano had unveiled us his second ready-to-wear collection for Maison Martin Margiela. Galliano proposed us chic and luxuriuos looks because recycling and deconstruction can still be done so authentically,so perfect ans also be commercial, especially when it will be done by the genie as John Galliano is.

Let us speak about the show and about „new“ Galliano : also if he didn’t come out physically, this show was a kind of coming out. It was a re-emergence of an enigma. Spring/Summer 2016 brings us one step closer to the Galliano we knew in the early days – going full throttle, full of ideas and enjoying the joie de vivre of it all. In short, this show was near incredible. The first exits poured out onto the catwalk. Previous collections at Maison Margiela have seen Galliano engage with a bag lady kind of intellect Today’s version of events evoked down and out heiress. In the first part the ornate crystal jewellery was bricolaged onto the tops of ears and pinned in swathes across knee-lenth coats and slightly padded and roomy 1950s-style gowns. Paris shoes leaned back in an arched Versaille style, whilst fishnet tights were pulled over the entire shoe, and added to the unhinged styling.

There were also men on the womenswear runway , which is a new thing for the re-launched house. This is proof that the label wants to symbiotically promote dual narratives. Furthermore, due to some of the men wearing dresses, it was a signifier of the house . The mood of the designer’s avant-garde show was captured perfectly by its diverse, gender-fluid cast. While girls like Paula Galecka,Ysaunny Brito and Sora Choi, reflected a youthful, almost innocent ideal of beauty, models Maarten Convens, Vincent Beier, Carl Hjelm Sandqvist, and Théo Bianconi presented a captivating androgyny.

The final part of the show looked East for inspiration as traditional Geisha garb was transformed by Galliano into something stiffer and more structured than the original silk Kimonos. Where purses replaced obi bows, and kitten heels with pronounced posteriors were worn instead of traditional geta sandals. The result was oddly lovely and completely apart from anything else currently happening in fashion.

As ever Galliano’s hand could be seen in all. Making treasured pieces, each of which appear individual, has been his marker long before Margiela but it is one that’s flourishing as he continues to re-establish himself and the house