Chanel Tuesday saw day two of the Paris Haute Couture shows, and of course Chanel came out in full force. Pastels and futuristic hues competed for the limelight. The classic wool suit made a delicious appearance in sweet shop shades of pale blues and pinks. Yet the end looks were in metallic shades of silver and gold. The bow combs in the hair played with the traditional iconography of the House, while rose and camellia decoration also crept up in many looks, typical of Chanelâ€™s back catalogue.
The collection was further modernised in the finer details. The jackets featured crystal buttons, and simple shift dresses were decorated with strips of perspex on the bust. When accessorised with steel bangles, fingerless gloves, chunky silver shoes and iridescent hosiery, the clothes achieved the future plateau of science meets fashion.
But lest we forget that couture is always about the gowns. Layered tiers of floating chiffon looked like lightly whipped candy floss. The delicate lace capes coming away from evening dresses created a whimsical, princess feel, evoking a turn of the century ball. Sheer chiffon gowns were emblazoned with crystals and some used camellia brooches at the neck with exquisite results. Elegant, column gowns and Oriental draping are just waiting to be snapped up for Hollywood Award Season. The show finished on a high, with the bride, a vision of cascading waves of a white train and delicate cut out sleeves, escorted down the catwalk by a disco-suited groom.
The 70's influence on Givenchy designer Riccardo Tisci was evident from the opening masculine-influenced looks to the closing sequined show stoppers. Finding his stride with couture this season, Tisciâ€™s collection bravely looked back into the Givenchy archives for the first time, finding inspiration from the saucy Parisians of the 70's. The ostrich feather t-shirt tops flamboyantly defied the tailored jackets and trousers accompanying them, adding a va-va-voom to a simple silhouette. Sheer bodices with underwear peeping through also captured a daring side of femininity. Next came a dress of tornado-like whirls of white organza topped off with a boxy hat, followed by rock n' roll fur gilets and feather skirts. The show stoppers were the black lace jumpsuit, the midnight blue column dress with accompanying basque and flowing cape, and the bejewelled Studio 54 jumpsuits and dresses that came in emerald, amethyst and sapphire. The final full skirted, cut to the thigh evening gowns were sumptuous in deep violet with bejewelled busts and flounces of cascading fabric. Parfait.
StÃ©phane Rolland Although it is difficult to compete with two big hitters as big as Chanel and Givenchy, another highlight of the day was StÃ©phane Rolland. Innovation was the key to the young Frenchmanâ€™s success. He manipulated paint in order to reduce it to a light enough consistency to hand print silk and satin, and used plexiglass to create a sculpted armour effect on shoulders and hems. The results were dramatic and decadent gowns in both rich dark hues and striking white shades, showcasing a great new talent in couture.
Images from www.telegraph.com
Words by Rebecca Cope
Edited by Mini Bear - 12 Aug 2010 at 9:54pm
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