Paris Fashion Week
Attention, attention please:
This is the final call for Chanel Airlines.
All passengers are requested to report immediately to terminal No. 5.
Paris Fashion Week arrived this month with no turbulence or delays, and departed anything but oh-la-lacluster. The international style capital saw cyberpunk taken to virtual insanity, sets that came with their own hashtags, bewildering monsters, Alice-in-Wonderland proportions, and, predictably some classic lady-like designs that were superbly French.
But first, please have your ticket and photo-ID ready for check-in.
Critics raved over the space-age details (check the shoes!) that cast the classic Chanel suit into the future, and the at times sheer, barely-there tops mixed with the expensive-looking, “over-materialed” bottoms fit Chanel’s line into the Week’s theme of shameless luxury.
Speaking of “over-materialed,” the, designs – if one dare uses such a mainstream word – by Comme des Garcons were bewildering, staggering and just a little-bit bonkers:
“Blue Witch” is the only instruction we get from designer Rei Kawakubo, whose models squished through the crowded basement stage in layers, and layers …and layers of velvets, furs, feathers and heavy wool-like fabrics. Since 1973 Kawakubo has been redefining what is describable as “clothing,” and while we have no more solid insight into her witchy-world, it’s clear these pieces intend to defy straightforward interpretation.
No Paris Fashion Week post would be complete without highlighting Louis Vuitton, and this month the fashion Powerhouse showed us what it means to rethink cyber-punk for the 2010s without sacrificing glamour, luxury or the label’s gift and propensity for tailoring.
There’s something very “Terminator meets Sailor Moon meets digital empress” about this line, which is my clumsy way of saying it is perfectly futuristic chic.
Finally, let us explore the world of porcelain dolls. Alexander McQueen’s versions make us crave the lady-like ethereality of the Victorian-undead:
Chanel’s Fall collection was dream-like and sophisticated. Model’s captivated their audience with striking contrasts and Tim Burton-esque faces; whether one imagined them more naturally on a cake or in a ballet, these pieces were a celebration of French design, and quintessentially Chanel.
Finally, Alexander Wang’s final show for Balenciaga saw doll-like models in snow-white garments maintain straight faces, however critics lauded the show as an emotional masterpiece.
~ Monica Sommerville