Presents a Clean Sweep
1
8/14/2019 Presents a Clean Sweep http://slidepdf.com/reader/full/presents-a-clean-sweep 1/1 ** 201 International Herald Tribune Friday, March 3, 2006 T he Cacharel show was a fine example of taking the image of a house (in this case girly femininity) and adapting it to the mood of the fashion moment. The design duo Suzanne Clements and Inacio Ribeiro transported the audience to a hidden garden seen by the light of a full h arvest moon, where a palette of rich purples, dark grays and midnight blue was in keeping with the somber movement dominating the winter col lections. In fact, the spherical theme of the moon was found scattered throughout the show. It was echoed in necklaces of round rivets on a purple coat and a cap- sleeved chiffon blouse, in the silver-dollar-shaped print used on semi-sheer tops and dresses and as disks of fluttering fabric outlining a collar. By translating the moonlight into slick metallic fabrics, the designers also grounded the clothing into something more than just another take on a pleated skirt or shirt dress. A delicate latticework knitted onto a long comfy sweater added to the garden theme. And a pair of charming russet-colored print dresses that moved from flowers at the hem to a starry night sky at the shoulders cemented the team’s after-dark message. — Jessica Michault WWW.DIOR.COM Fashion ROCHAS Continued from Page I The show openedwell withcoats tailored at thewaist, thevolumein the full sleeves and spreadingskirts. Other piecesworked in fur,from a Mongolianlamb coatin old rose to a fur bomber jacket with ribbed sleeves, were co- herent with the brand. Butwith so muchdrapingcreatinga taut,shortsilhou- ette, Dundas seemed to have started whereUngaro him- self steppeddown in ready-to-wear — and thatwas six years ago. Fashion moves so fast and there was no sign here of the modest grace that is the leading look of the sea- son.But as the choiceof the house’s new owner,Dundas should be given a grace period to establish his own look to take the Ungaro label forward. Tischi, putting his densely worked Givenchy clothes with a sensitive womanly spiriton the runway for the second time, surely must have been dragooned into mount- ing a fast-paced hard-edged showthat looked like Hubert (as in Givenchy) had collided with Helmut (as in Lang). There were so many good things about the show: tailored coats lush with feathery fur at the neck and on the pockets; a courageous update of the house’s signature blouse with inserts of scarlet lace and matching red gloves; high-rise waists refreshing skinny pants and skirts. Butwhen thesweet-facedmodelswith Gretchenbraids were made to tote a bag in eachhand, it lookedlike there was no confidence in Tischi’s ability to sell a dress, so bet- ter make money on the accessories. The show proved both the power and the weakness of belonging to a large group. The parent company LVMH Moët Hennessy Louis Vuitton had done Tischi proud with investmentin thef inestfabrics and superbmakeand fin- ish sothat a moss green topembellished with paillettes or a simpledress with tabs atthe bustlooked equally classy. But the one-size-fits-all branding viewpointput Tischi on a big runway thatencouraged him to present the show- stopper sparkling scarlet dresses and Dorothy sequined shoes that had been more poetically displayed in a presen- tation in a sculpture museum at January’s couture. And ex- actly whathe wasdrawing fromthe Givenchy archives to project into the present and the future did not come th rough. There was nosmoke and mirrors at Rochas. Or rather, the smoky gray lace and reflective silk werereserved for the clothes, which delivered a charming message. Out camea model, carryinga miniature ladder tointroduce a themethat brought the same ladder effects toheadbands and bag handles and led to patterns of blackbirds and cloud light evening gowns. ‘‘Iwas thinking of a littlechimney sweep,’’ said They- skens, whoseromantic approach was both delicate and a powerful fashion story. It opened with coal black trouser suits, the pants narrow and falling just low enough on hips and crotch to make them modern. Tight vests took the look back to the Dickensianera but, with croppedshorts, the skinny pantsuits seemed contemporary. This increasing focus on daywear is rounding out the Rochas répertoire. But Theyskens still shines at night. After ad ress with a pattern of black birds as if silhouetted on a chimney top, thecollection broke into whatTheysken calledhis ‘‘cloud’‘ dresses, catching cumulus colors of streaks and shades of gray that concluded a collection as thoughtful as it was successful. ‘‘Ifinallygrew up,’ saidMcCartney,greetingfront-row celebrities Courtney Love and Kate Hudson backstage, but with one eye on her husband cuddling their baby son Miller who turned 1 year old last Saturday. Fashion wisdom has it that male designers are fa ntasists and that women create for themselves. Maybe McCart- ney’s personal journey isa large part of herapproach, but her path from rock royalty, creating ultra-feminine li nger- ie tops and tailored pantsuits, to today’s womanly volumes is also fashion’s decade-long trajectory. Love, saying that she had been out of the fashion loop for two years (referring to her battles in court and with drugs), saidshe loved, loved, loved the sweater dresses. Andwho wouldn’t? The knitted egg shapes, with a whisper(but not too much) of the 1980s, were winter comfort blankets. But the designer hadstitched in ideas, from theconcept of us- ing knitting aspart of a coat to mixes of color andtexture or even patches of silvery gleam for an after-dark edge. The tailoring was generous in shape, with swinging coats and pouch bags suggesting a genuine winter ward- robe. But McCartney had not lost her whimsical touch, adding high-waisted, girlish dresses, some with a jigsaw puzzle pattern; and also sporty denim. The runway up-lighting at Celine had a crafty way of il- luminating its treasures: golfing-style high heeled shoes with tassels or cherry bobbles attached; saucy laced cro- codile boots; buckled bags great and small; a deep belt cinching a marmalade fur coat; leather bangles (hello! brand extension!); and elbow-length gloves (yet another new revenue source!). This was an excellent accessories collection with clothes attached. And Croatian-born Ivana Omazic did a goodjob of cre- ating just the right fashion pieces to showcase the rest. There was a sturdy herringbone tweed suit togo with the thick-heeled shoes, cropped pants to show off footwear. A turquoise chiffon dress exactly matching the aquamarine crocodile shoes. Above the waist, graceful portrait neck- lines bared the throat. (What! No jewelry yet?) The ulti- mate accessory was a belt with two bag handles attached. It was a Celine show that was sharp, clear and to the point. Suzy Menkes is the fashion editor of the International Herald Tribune. II International Herald Tribune Friday, March 3, 2006 T his year the house of Leonard is celebrating its 50th anniversary. With that kind of a rchive, the designer Véronique Leroy said, she decided to look for the ‘‘best prints and colors and create a very sensual and luxe collectionthat was also very French.’’ This was probably the right way to go for a house that is known for its powerful flower prints and strong color combinations during a time when fashion has taken a m ove to the dark side and all but abandoned its recent flower-filled past. So for women who want to buck the fashion trend and stay on a f lowery path, they need look no further than Leonard. The collection sent out a number of different prints with its only nod to current trends being an overall use of more muted color tones, with black or blue velvet acting as a backdrop to orchids and other flora. There was a focus on the torso as strips of contrasting fabric gave the jersey dresses definition and lace inserts also helped to break up the prints. The use of gold and black lamé seemed forced but the sprinkling of crystals on the long and flowing evening dress with their oversized pinking-shears edging was a nice touch. — Jessica Michault Cacharel moonlight Florals by Leonard Rochas presents a clean sweep CELIN E Photographs by Christopher Moore/Andrew Thomas II International Herald Tribune Friday, March 3, 2006
-
Upload
jessica-michault -
Category
Documents
-
view
217 -
download
0
Transcript of Presents a Clean Sweep
8/14/2019 Presents a Clean Sweep
http://slidepdf.com/reader/full/presents-a-clean-sweep 1/1
**
201International Herald Tribune
Friday, March 3, 2006
T he Cacharel show was a fine example of taking theimage of a house (in this case girly femininity) and
adapting it to the mood of the fashion moment.The design duo Suzanne Clements and Inacio Ribeiro
transported the audience to a hidden garden seen by thelight of a full h arvest moon, where a palette of richpurples, dark grays and midnight blue was in keepingwith the somber movement dominating the wintercol lections.
In fact, the sphericaltheme of the moon wasfound scattered throughout
the show.It was echoed innecklaces of round rivets ona purple coat and a cap-sleeved chiffon blouse, inthe silver-dollar-shapedprint used on semi-sheertops and dresses and asdisks of fluttering fabricoutlining a collar.
By translating themoonlight into slick metallicfabrics, the designers alsogrounded the clothing intosomething more than justanother take on a pleatedskirt or shirt dress.
A delicate latticeworkknitted onto a long comfysweater added to the gardentheme. And a pair of charming russet-coloredprint dresses that movedfrom flowers at the hem to astarry night sky at theshoulders cemented theteam’s after-dark message.
— Jessica Michault
WWW.DIOR.COM
Fash ion
ROCH AS
Continued from Page I
The show openedwell withcoats tailored at thewaist,the volume in the full sleeves and spreadingskirts. Otherpiecesworked in fur,from a Mongolianlamb coatin oldrose to a fur bomber jacket with ribbed sleeves, were co-herent with the brand.
Butwith so muchdrapingcreatinga taut, shortsilhou-ette, Dundas seemed to have started whereUngaro him-self stepped down in ready-to-wear — and that was six
years ago. Fashion moves so fast and there was no signhere of the modest grace that is the leading look of the sea-son. But as the choice of the house’s new owner, Dundasshould be given a grace period to establish his own look totake the Ungaro label forward.
Tischi, putting his densely worked Givenchy clotheswith a sensitive womanly spirit on the runway for thesecond time, surely must have been dragooned into mount-ing a fast-paced hard-edged showthat looked like Hubert(as in Givenchy) had collided with Helmut (as in Lang).
There were so many good things about the show:tailored coats lush with feathery fur at the neck and on thepockets; a courageous update of the house’s signatureblouse with inserts of scarlet lace and matching redgloves; high-rise waists refreshing skinny pants andsk ir ts.
Butwhen thesweet-facedmodelswith Gretchenbraidswere made to tote a bag in eachhand, it lookedlike therewas no confidence in Tischi’s ability to sell a dress, so bet-ter make money on the accessories.
The show proved both the power and the weakness of belonging to a large group. The parent company LVMHMoët Hennessy Louis Vuitton had done Tischi proud withinvestmentin thef inestfabrics and superb makeand fin-ish sothat a moss green topembellished with paillettes ora simpledress with tabs atthe bustlooked equally classy.But the one-size-fits-all branding viewpointput Tischi ona big runway that encouraged him to present the show-stopper sparkling scarlet dresses and Dorothy sequinedshoes that had been more poetically displayed in a presen-tation in a sculpture museum at January’s couture. And ex-actly whathe wasdrawing fromthe Givenchy archives toproject into the present and the future did not cometh rough.
There was nosmoke and mirrors at Rochas. Or rather,the smoky gray lace and reflective silk werereserved forthe clothes, which delivered a charming message. Outcame a model, carryinga miniature ladder to introduce athemethat brought the same ladder effects to headbandsand bag handles and led to patterns of black birds andcloud light evening gowns.
‘‘Iwas thinking of a littlechimney sweep,’’ said They-skens, whoseromantic approach was both delicate and apowerful fashion story. It opened with coal black trousersuits, the pants narrow and falling just low enough on hipsand crotch to make them modern. Tight vests took the lookback to the Dickensianera but, with croppedshorts, theskinny pantsuits seemed contemporary. This increasingfocus on daywear is rounding out the Rochas répertoire.
But Theyskens still shines at night. After ad ress with apattern of black birds as if silhouetted on a chimney top,the collection broke into what Theysken called his‘‘cloud’‘ dresses, catching cumulus colors of streaks andshades of gray that concluded a collection as thoughtful asit was successful.
‘‘If inally grew up,’’ saidMcCartney, greetingfront-rowcelebrities Courtney Love and Kate Hudson backstage, butwith one eye on her husband cuddling their baby sonMiller who turned 1 year old last Saturday.
Fashion wisdom has it that male designers are fa ntasistsand that women create for themselves. Maybe McCart-ney’s personal journey isa large part of herapproach, buther path from rock royalty, creating ultra-feminine li nger-ie tops and tailored pantsuits, to today’s womanly volumesis also fashion’s decade-long trajectory.
Love, saying that she had been out of the fashion loop fortwo years (referring to her battles in court and with drugs),saidshe loved, loved, loved the sweater dresses. Andwhowouldn’t? The knitted egg shapes, with a whisper(but nottoo much) of the 1980s, were winter comfort blankets. Butthe designer hadstitched in ideas, from theconcept of us-ing knitting aspart of a coat to mixes of color andtextureor even patches of silvery gleam for an after-dark edge.
The tailoring was generous in shape, with swingingcoats and pouch bags suggesting a genuine winter ward-robe. But McCartney had not lost her whimsical touch,adding high-waisted, girlish dresses, some with a jigsawpuzzle pattern; and also sporty denim.
The runway up-lighting at Celine had a crafty way of il-luminating its treasures: golfing-style high heeled shoeswith tassels or cherry bobbles attached; saucy laced cro-codile boots; buckled bags great and small; a deep beltcinching a marmalade fur coat; leather bangles (hello!brand extension!); and elbow-length gloves (yet anothernew revenue source!). This was an excellent accessoriescollection with clothes attached.
And Croatian-born Ivana Omazic did a goodjob of cre-ating just the right fashion pieces to showcase the rest.There was a sturdy herringbone tweed suit togo with thethick-heeled shoes, cropped pants to show off footwear. Aturquoise chiffon dress exactly matching the aquamarinecrocodile shoes. Above the waist, graceful portrait neck-lines bared the throat. (What! No jewelry yet?) The ulti-mate accessory was a belt with two bag handles attached. Itwas a Celine show that was sharp, clear and to the point.
Suzy Menkes is the fashion editor of the International Herald Tribune.
IIInternational Herald Tribune
Friday, March 3, 2006
T his year the house of Leonard is celebrating its 50tha nniversa r y.
With that kind of a rchive, the designer Véronique Leroysaid, she decided to look for the ‘‘best prints and colors andcreate a very sensual and luxe collection that was alsovery French.’’
This was probably the right way to go for a house that isknown for its powerful flower prints and strong colorcombinations during a timewhen fashion has taken amove to the dark side andall but abandoned its recent
flower-filled past.So for women who wantto buck the fashion trendand stay on a f lowery path,they need look no furtherthan Leonard.
The collection sent out anumber of different printswith its only nod to currenttrends being an overall useof more muted color tones,with black or blue velvetacting as a backdrop toorchids and other flora.
There was a focus on thetorso as strips of contrasting fabric gave thejersey dresses definitionand lace inserts also helpedto break up the prints.
The use of gold and blacklamé seemed forced but thesprinkling of crystals onthe long and flowingevening dress with theiroversized pinking-shearsedging was a nice touch.
— Jessica Michault
Cacharel moonlight Florals by Leonard
Rochas presents a clean sweep
CELIN E
Photographs by Christopher Moore/Andrew Thomas
IIInternational Herald Tribune
Friday, March 3, 2006
