It’s not easy to find words to explain the ingeniously crafted, superfine fabrics and leather it uses in Hermés without sounding pretentious. I’ll try to describe what the Hermés about : Hermès is the essence of the cultivated, inbred french point of view that if you have wealth, it must be spent so that it doesn’t show except to those of your class. (Anyway a woman must never blunder by trying to be sexy, appear to wear makeup, or have done hair direct from hair stylist! – but too much women are half-blind to all these nuances. ) A lot of us wanted to know how Vanhee-Cybulski would set out the Hermès principles for Spring. and what can i tell you- she did it – with a simplified sequence of blue-black tailoring and grid-patterned black-on-cream tops and pants, and mustard-color dresses in cotton and leather, accessorized with large quartz and clear resin cuffs. She’s brought a sense of relaxed city-sportiness to the picture, showing Hermès trainers with many looks and dialing back on the horsey heritage for the moment. It’s not showy “fashion” that is being sold here; more a carefully calibrated sense of a lifestyle which consciously rises above trendiness. For those who want to belong to it, the quality of the materials will be explained in the ritual of buying at Hermès.
Giambattista Valli is finding favour with the little babydoll dress right now – it’s a style that underpins his Giamba line and it’s one that he gave to us in the plenty last season. Only where then it was over trousers for long and lean lengths, this time round it was about bare legs on show and great flat-formed gladiator sandals that climbed the length of the leg beneath a coat of similar proportions up top. He continued with his riff on Seventies patterning and made sure there was a handful of gowns to swoon over too,they billowed in hippy grace and half morphed into the babydoll numbers that preceded them. Valli seems to have found a new youthful groove when it comes to his ready-to-wear line.
The hallmark of the Sacai brand is its hybrid designs..A dress is never simply a dress. A jacket is not just a jacket. Dis-assembled, re-configured then re-assembled is the Sacai way The results always being a cool crossbreed of Beauty.
At this season Chitose Abe was brimming with ideas inspired by thrift-shop throw-away finds. Her treasures comprised souvenir scarf prints, hers depicted a safari Leopard scene, american bandana motifs,victorian lace – all came together to create cropped bombers with open backs, military jackets with gold guipure lace and epaulettes streaming in silk cord, knife-pleated skirts and wide leg trousers gashed open.
Stella McCartney unveiled her spring/summer 2016 collection today morning in Paris Fashion Week.
Grandios Show in Operá´Garnier.
Stella McCartney put a major emphasis on knits in her spring-summer collection. Knitwear has become more visible on Spring runways in last few fahion cycles because a lot of innovative, computer-enabled techniques have allowed designers to do things not possible before. Of course , there’s also another reason sweater dressing is on the rise – because of comfort. McCartney’s layered tanks, polo shirts, and tube skirts looked stretchy as activewear, sporty and poised for action on the athletic sandals they paraded out on, but elevated in bright stripes, checks, and transparencies. She also played with pleated knits in loose trapeze-like shapes with sexy cutaways. It’s been a great week for color in Paris, but McCartney’s as bold as anybody, combining orange and blue or chili red with pink on those knit separates. Swirls of ribbon embroidery made a similarly strong impact on tracksuits and Dresses.
Her other project here was remake the suit, which has been an icon of the brand from the beginning. She did that via deconstruction; a double-breasted black jacket was transformed into a strapless, form-fitting tunic worn over a multi-slit skirt. More conventional pieces like vests and trousers had an appealing fluidity and elongated proportions.
Sarah Burton unveiled Alexander McQueen Spring/Summer 2016 collection.It is most personal collection designed by Sarah Burton since she took over as creative director of Alexander McQueen. “I wanted it to be believable, touchable, soft,” said Burton backstage.
To an extent, the beautiful dresses—with their ruffles cascading across the body and falling off shoulders, the palette of pale pink, the flower-strewn patterns, the pristine cotton, the tattered lace, and the frock-coated tailoring—speak for themselves. Everything about them in these times when every camera phone has a zoom lens can be examined in all their extraordinary detail, down to the finest knitted stitches, the flower-painted wooden clogs, and the couture-level embroidery. On the other hand, for all that the ethereal lightness, whip-smart tailoring, and elaborate designs communicated a new, relaxed, of-the-season relevance, they also carried the story of a London history that Burton wanted to make known.
The collection has McQueen DNA but it’s a Sarah Burton who create it.