Vogue: 10/01/15

четверг, 1 октября 2015 г.

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#SuzyPFW: Rochas — Happy Birthday - Vogue

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The one-night-only exhibition to celebrate the 90th anniversary of Rochas offered food for thought. There was a fine selection of archive ads for fragrances, one called "Femme", with the perfume bottle set against a photo of the Eiffel Tower. Elsewhere at the same time, the Mayor of Paris and the French Federation of Couture were celebrating a special 30-minute illumination of the famous Paris landmark in honour of Fashion Week.  

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I walked past other fragrance images from the original Marcel Rochas, who died in 1955, all of them with a sensual but simple glamour. I then visited the display of vintage clothes. But these were not really historical pieces. Instead there were dresses with fluffy embellishments, or prints of zooming black that were recent creations by Alessandro Dell'Acqua, the current Rochas designer. He had shown his summer 2016 collection earlier in the day.

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I spotted other refined pieces, from previous Rocha designers Marco Zanini and especially Olivier Theyskens, whose dark fairy tales made a real impact in the early part of the millennium.  

But what about all the other archive clothes from the founder's early years? A book celebrating the anniversary had striking pictures of Rochas in the 1930s and 1940s, including the movie star Mae West in 1935 with frills at shoulders and knees.  

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In the Dell'Acqua show there was not much fashion inspiration from the past — except for Dalí's wife Gala. The designer used that connection for inventing orange giraffes stretching their necks towards a golden sun on skirts and dresses. There were other surreal signs in giant bows making up the bodice of a dress, or a colourful print veiled by white chiffon.  

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The Italian designer is not doing a bad job at Rochas, now that he has loosened and lightened up his work. This season's collection was credible and showed off intense workmanship just as much as golden coats and those sun rays.  

But the feeling remains that Rochas is in the fashion game to sell its fragrances. Will the new one be called "Giraffe"?

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#SuzyPFW: Vionnet — A Fluid Elegance - Vogue

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Two violinists, a cellist and a violist playing haunting music were in the spirit of dresses on the runway that exuded calm and charm. This was the moment that Vionnet finally became a viable, rejuvenated brand.

It has taken a while for the liquid beauty of Madeleine Vionnet's style from nearly a century ago to come back in contemporary fashion. Goga Ashkenazi, who set out to revitalise the house, has achieved her goal — by not trying too hard to be 'modern'. She ran out at the end of the show to take a bow with a group of designers, including Hussein Chalayan, whose understanding of shape and drape must have helped to create these easy, ethereal clothes.

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The two crucial elements for putting Vionnet on track were transparency in the fabric and the relationship of material to body shape. Those came together when a dress in stagnant-water green poured pleated chiffon down the body to an ankle-length hem. With no fancy twists or turns, the effect was fluid elegance. Flat shoes — not always but as an acceptable proposition — made the Vionnet collection feel au courant, even if it was dedicated to woman as nymph.

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A few dresses, in their transparency or in a sporty bareness, prevented the collection from looking too historical. So did the insertion of soft trousers with an ease of movement. The modernity was in the mix of shapes and fabrics — the history in fine handwork, almost invisible on the runway.

With so many couture names from the past being resuscitated — Paul Poiret is the latest, the brand having been bought by a South Korean investor — it is still going to be a tough sell to convince an increasingly picky luxury customer that Vionnet has anything different to offer. But eveningwear-light — the clothes that sophisticated customers are looking for — is the fast track to success.

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#SuzyPFW: Anthony Vaccarello — Denim to the Fore - Vogue

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Anthony Vaccarello's signature is skin. His clothes increasingly seem like accessories to the body, as a waist-high slit in a black dress brings to the fore a long stretch of bared leg.

Even when clothes relatively cover the body, there is still some skin — a top deliberately sliding off the shoulder, say, or bare flesh showing between top and skirt.

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This kind of bold exposure, as though it is the choice of a free and confident woman, is what convinced Donatella Versace that Vaccarello should design the Versus line. For this label the designer has been effective and on message.

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What leapt out at me during Vaccarello's own show was a similar sporty spirit, as blue jeans were topped with white shirts patterned with inky blue flowers.

I thought back to the use of denim at Versus, which had also given a dose of fresh energy to a more familiar sexy spirit.

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It looks like the V and V collaboration has been fruitful on both sides: it is one of those rare moments when asking a designer to oversee a second line seems to strengthen his resolve with his own label, making for a happy fashion combination.

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#SuzyPFW: Hermès — One Foot in the Country - Vogue

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The famed silk scarves as worn by the Queen of England, the iconic bags named after the famous — the Hermès culture of fine accessories has an established place in fashion history.

But what about the footwear? There are no Birkin ballet pumps or Kelly court shoes.

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In a bid to give its shoes greater status, Hermès has been showing its vast range during the Paris ready-to-wear season. And, as ever with this brand, there was a graceful set - a gentle nod to country life, with botanical drawings hanging on the walls and greenery dangling from the ceiling. The three presentation rooms opened out onto a Paris garden; the central display was of suede platform sandals decorated with leaves and positioned beside a vintage wooden birdcage filled with toy birds.

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What struck the mind's eye was the sheer volume of output from the artistic imagination of shoe designer Pierre Hardy. His touches were light: laurel leaves creating the upper part of a turquoise sandal, or more branches spread across a shoe.

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The real story was in the craftsmanship: thin twists of suede making up flat sandals were echoed in a similar woven lattice in a high heel. Multicoloured flats and sneakers with a wooden heel all spoke of the kind of luxury Hermès has planted in their vision of a country garden.