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понедельник, 5 октября 2015 г.
#SuzyPFW: Paco Rabanne and Carven — An Angle on the 1960s - Vogue
Paco Rabanne
To be tasked with reviving a heritage brand is not an easy role for a vibrant, modern designer — especially when the brand's original creator, in the case of Paco Rabanne, lived through the 1969 moon landing, as well as the sporty liberation of women.
Current designer Julien Dossena is making a good job of exchanging retro futurism for an athletic modernity. This season he added that 'undone' look that still seems to hold a fascination. The geometric rigidity of the Paco style was softened by a wispy hemline or a chiffon mini dress, while a crystal top was paired with trousers which had yet more loose threads of fabric.
The game of designer musical chairs keeps on playing. Dossena was an assistant at Balenciaga, working under his front row guest Nicolas Ghesquière, who is now at Louis Vuitton. On the runway, I thought that I spotted various Balenciaga influences in a techno top and slithery trousers with a plastic pocket - but that could equally be attributed to Paco brought into the digital era.
And therein lies the problem. Tie-dye top? A 60s hippie thing. Sport with a sexy injection in a bra top and shorts with upper-thigh straps? A 90s look. Silver jacket? Paco metallic. An orange top with a swirl of geometric pattern? Hard to define.
The answer to the question is this: it is difficult for a talented designer to put himself into another designer's sandals.
Carven: Nautical but nice
The transparent plastic tent as backdrop to the runway at Carven suggested a 1960s space-age story. And lo! Out came a short, triangular skirt with circles at the hem. Paco? Or do I mean Courrèges? Certainly not Carven.
But what does that historic house stand for now? When Guillaume Henry was at the helm, he reinvented the spirit by thinking of the granddaughters of the chic founder: fresh young girls from the smart 16th Arrondissement, the Paris equivalent of New York's Upper East Side.
Current designers Alexis Martial and Adrien Caillaud sent out an acceptable collection with a light tang of the sea in white and blue. There were other offbeat shades such as mauve. It all added up to nice clothes but without much character channelled from the founder or this duo.
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#SuzyPFW: Chalayan — Cuba Calling - Vogue
In Depth: the first of an occasional series in which Suzy Menkes looks at the thought process behind a designer's show.
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#SuzyPFW: Elie Saab — Youth Quake - Vogue
The sweet bird of youth was tweeting through the Elie Saab collection — and not just because the blocks of clients were wedded to their cell phones.
Lace and sport were the themes for this designer, better know for sumptuous evening gowns. He had left the glam slam to his couture line, giving the summer 2016 collection striped silk bomber jackets over short lacy skirts — and even sending out an upscale tracksuit.
Add skinny ribbon bows at the neck, raised waists and shorts, and there was a perfect storm of youth. Not to be churlish about Saab turning girly — surely most of these outfits, with longer skirts, are focused as much on mother as daughter?
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Comme des Garçons: Witch Hunt - Vogue
Music from Blue Velvet, David Lynch's 1980s film noir, filled the raw basement beneath a shiny modern bank, where Comme des Garçons staged its summer 2016 show.
Rei Kawakubo had a slightly different take on her deep-pile furry coats, in which the models were covered in complex layers and balls of the materials.
"Blue witch," she announced, by way of her partner Adrian Joffe.
Hence the crowded set: hot, sweaty, suited to cauldrons and potions and the paraphernalia of witchcraft. In fashion terms, that meant knife-sharp toes on narrow shoes and strange objects strung along the coats, some of them looking like chopped-off animal claws.
It has been a while since the designer sent out what could be described as clothing, as opposed to some body-structure that embodies abstract ideas. I am usually overwhelmed by the magisterial depth of her artistry, and how she extends the definition of clothing.
I was less convinced by these omni-layers of fur. Maybe something will come of the witchy reductions: twisted embellishment under a circular coat; a vast velvet cloak with the fabric draped like theatre curtains; white frills cascading down a black garment - and always the models wearing primary-red wigs.
Kawakubo has done so many extraordinary body installations, but it was tough to guess what she was trying to say this time. Something about animal skin, when a coat came out with two kinds of liverish leopard spots?
By contrast, white cotton dresses seemed far away from this witchy world, and added a welcome sense of cool relief.
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