JAC//STYLE

CTR AW10: Valentino

I know this is so late that it is practically irrelevant, but here goes… The austerity of some of this Fall’s couture shows- the severe lace of Alexis Mabille and the stark cleanliness of Bouchra Jarrar, to name a couple of examples- may have left you feeling like your childlike self had little to play with over the coming season. Worry not! Your inner child can clinch the carefree, more youthful designs at Valentino, where feminine shapes and soft, dreamy colours were beautifully crafted by Maria Grazia Chiuri and Pier Paolo Piccioli.

Dark wool and potent black silk was reminiscent of a former era, emanating a cold, strict atmosphere that was thankfully lost through pleating and sheer trims. A black dress was drawn in at the waist, fastened with a sewn-on bow, the remaining fabric whooshing ever so slightly in the drop, creating an ultimately smart but very womanly structure.  The bow continued to surface, acting as a fastening on dresses and as decoration on the shoes. This romantic suggestion continued, with the ongoing use of under- and over-lays of sheer breathing an almost ethereal grace onto the designs, reiterated by gathering and bunching of it at the neck and cuffs.

Next, a move away from the dark to the more luxurious- rich furs and delicate lace brought a more opulent tone, whilst the intuitive moderation of Chiuri and Piccioli ensuring that nothing became pretentious or overly complicated. One of the strongest pieces in the entire collection was a breathtakingly pretty birdcage piece, which hovered gently over a simple, strapless ivory dress. Floral print followed, keeping the maidenly tone alight, whilst a high-waisted skirt, tied with a bow, was paired with a  blouse with two huge ruffles; more like two individually draped sheets of fabric with an airy edge.

A succession of mid-thigh length dresses, smart suits and gowns were next in the Valentino procession, some of them glimmering from their shining embellishments, others catching the light with their metallic threads. With regard to colour, the show presented a mixed palette, ranging from the calmest of colours to a striking depth of blacks and reds, but, in the end, every balanced out. All in all, the gowns that concluded the collection were a display of old, present and future: the archaic notions of full-length lace, the refined restraint of light, layered sheer and the starkness of grey and pale yellow, connoting a progressive, forward-looking efficiency that was constant in many of the show’s pieces.

Each garment exuded a glamour that was at once simplistic, pleasant and celestial- deeper still, the clothes were a delightful recipe of design that encouraged thought regarding youth and it’s frailty: the dresses were clearly marketed towards a young crowd, with their delicate fabrics and precise cut highlighting that this new consumer must be approached with trepidation and meticulous attention to detail. Best of all? It seems to have worked.

CTR AW10: Armani Privé

Last season, Giorgio Armani explored the solar system in a Privé collection that was heavily influenced by the solar world, saying that it was “all about the moon”. This time around, there was no overwhelming theme or a base inspiration; it was about the classics. The collection revisited what Armani does best- the enduring staples of camel coats, glamorous evening dresses and feminine suits, all of which have earned Armani his iconic reputation.

Fitted jackets with boarded frill collars were paired with smart matching trousers, whilst slightly cropped jackets sat atop longer, low- and mid-hem skirts. Oversized wooden buttons were a tribal influence that brought some of the tailoring to life, just as buckled bags and cropped leather gloves created a safari feeling, effectively mirrored by a sophisticated current of muted tan and brown tones throughout the collection.

A number of different fabrics were used, most notably silks, tweeds, snakeskin and sequins. Altogether, this diversity allowed for a relatively deep exploration of cut and form, whilst still allowing Armani to harness creativity in a somewhat withholding manner. However, this approached worked wonders- the clothes were, for the most part, wearable, practical and stylish enough to be worn by couture-clad women who led demanding, hectic lives.

Draping was to be witnessed in many of the designs, but, thankfully, not to a billowing, Roman excess. A soft, two-toned dress and an ivory overcoat were among my highlights of the works, but the truly brilliant ball gowns were the apple of the audience’s eye: a sequence of embellished, bright, full-length dresses finished off the show in an enchanting, elegant and typically Italian way.

Overall, this collection was pivotal for both Armani and his clients- it was a far more reserved and controlled affair than the lunar experiment of last season, but still comprehensive and detailed enough to attract a myriad of eager patrons. Alas, this was one of the strongest couture shows, demonstrating simplicity and sumptuousness, as well as everything in between.

Who Was Where?

First off, I’m sorry that I’ve been so awful at posting updates. Rest assured, the things I have been doing are very much in relation to my future and my writing. Anyway, let’s get started! Although the couture shows were, in this day and age, a million lightyears ago, I’ve not been able to properly look through them or ponder on individual pieces. The past few weeks has been a blur of work experience and sunshine, so what better way to reintroduce myself to blogging than a nice, light look at the front row? Who has been where, need you ask?

The Hon. Daphne Guinness at Chanel

Carine Roitfeld with Patrick Demarchelier at Christian Dior

Grace Coddington with Anna Wintour at Armani Privé

Suzy Menkes with Stefano Tonchi at Armani Privé

Mario Testino at Jean Paul Gaultier 

All in all, the usual- but that’s what we all love. I’ll be in Paris this September, so it’ll be interesting to see these people in their natural habitat, as it were, but it would be even more interesting to actually slip into a show. Mmmm… “I’m a make-up artist, honestly!”

CTR AW10: Jean Paul Gaultier

It was with his usual, playful vigour that Jean Paul Gaultier presented his Fall 2010 Couture show in Paris’ third arrondissement. Models, including Dita von Teese, paraded down the runway in the customary Gaultier swagger, swishing glamorous coats and teetering around with Hepburn-esque cigarette holders. This show continued from this year’s Spring line in the sense that the clothes were dynamic, indulgent and extraordinarily well crafted.

Turban-clad models stormed onto the runway, sporting a pageant of craftsmanship and clear, well-executed design. A vampish gabardine trench, worn by Karlie Kloss, was the first in a succession of cleverly cut garments, all of which demonstrated Gaultier’s love of the old and lust for the new. Gaultier’s inimitable handiwork shone unmistakeably through the use of fur and leather, with Gaultier using the fabrics in interesting ways.

Fur and feathers paired with sheer silk to suggest extravagance and decadence, whilst leather and polyutherane melding the classic with the futuristic. A silver fox wrap and red fox fur trimmings, alongside layered, dripping feathers created a debauched, indulgent mood whilst panelled leather and shimmering, aquatic PU skirts fused to give the collection its ultramodern je ne sais quoi.

A slight tribal feeling mirrored the progression from Spring to Fall. Amongst the highlights of the collection was an embellished, batwing playsuit, which reminded me of the backdrop of Sex and the City 2. There was daywear, there was nightwear. Black and white, and the most striking of colours along the way, was used to create a timeless but open-minded expression of dress.

Altogether, this take worked well to create a collection that was balanced and demonstrative, showing that Gaultier can please a number of different women, which, after all, is what the industry is all about. 

CTR AW10: Chanel

One of the things I look forward to every single fashion week in Paris is the Chanel show, but Fall 2010 Ready-to-Wear was a huge disappointment for me. The show was, in my opinion, horrible and the designs were nigh-on tacky. Now comes retribution, in the form of Fall 2010 Couture. The first time I glanced at the collection I was disenchanted, but, on second look, there are some exceptional pieces and Karl Lagerfeld has continued to exhibit his extraordinary talent.

Ever the showman, Lagerfeld presented the collection under a gargantuan gold lion, in allusion to Coco Chanel’s zodiac sign, Leo. Outsized overcoats, in cavernous shades of brown, red and blue- the blue being lined in dark-red fur- were the first stand-out items, the second of which was the almost deconstructive take on the Chanel suit. At first look, it appeared that the characteristic suit had been manipulated by Lagerfeld to generate an almost Kawakubo-esque result, but in reality, all that had happened was that the jackets were cropped to just below the bust and the hemlines dropped several feet to mid-calf. Simple, but clever.

Next came jackets that fell to just above the knee, with half-length, slightly puffed sleeves. They were elegant and the tweeds and trimming were synonymous with the Chanel label. Two-piece suits- dresses with matching cropped jackets- followed, and were amongst the strongest of the looks. A jaunt to North Africa pursued, with shimmering beaded embellishments piping tight dresses, which gave them an extravagant, luxurious look.

Although the rest of the collection was largely unexciting, passing in a whirlwind of floral print, Athenian draping and rich silks, it came alive once again when lace was thrown into the mix. The delicate fabric was, as with many of the Fall Ready-to-Wear collections, given a grungier, more indolent aesthetic, painting a more rock-‘n’-roll picture than seasons past. Towards the end of the collection, the dresses became dreamier and more romantic, with pale, floaty sheer and flower detailing, whilst metallic threads gave some of the dresses a retro feel.

As with every Chanel collection, there were hits and there were misses. However, after the let-down of Fall 2010 Ready-to-Wear, this more than makes up for it and I, for one, have had my faith restored in both Lagerfeld and the Chanel brand. My breath is baited for October and Spring 2011, so we can only wait and see!