Looking back at Paris Fashion Week

(Image:white short prom dresses uk)

Georges Chakra’s FW 14-15 show opened with a brigade of chic cape crusaders out of a retro Richard Avon photograph, who theatrically removed their outerwear in unison to reveal those glamorous dresses Chakra has become known for. His signature attention-to-detail was ever present on the geometric cutout gowns that sashayed trails of organza down the underground runway of the Palais de Tokyo.

Always in the graphic sphere of design, Chakra’s looks defy the properties of the fabrics they are molded in. Soft velvet and digital printed gazer made eccentric cameos this season and the latest trend—the cape, was cleverly manipulated and made appearances in short, long, and even inversed versions of itself. Chakra successfully injected life into the black and white 1950’s images of Irving Pen to a movie in a rich Technicolor version of sapphire, aubergine, and gold. As front row icon and close friend, Mona Ayoub stated to cameras after the show: Georges had once again immaculately created a must-have wardrobe for his client—a woman who is never dressed in anything less than the epitome of glamour.

Fellow Lebanese designer, Elie Saab, also had a successful show that seemed to even overshadow the heavy weight houses, such as Chanel and Dior. A visual fantasy against a backdrop of crystal chandeliers, the collection exuded decadent elegance in his usual mix of semi sheer fabrics and generous ornamentation. Festooned in beads and flawless pearls, the collection presented the designer’s usual penchant for all things feminine and sparkly.

A soft color palette further romanticized the looks, and reflected this region’s recently growing trend for more subtleness in their fashion choices. There is no denying Saab’s international appeal, which he has in spades and yet retains without losing his insight to his loyal Middle Eastern clientele of celebrities. His four-front rows, which included Saudi producer Mohammed Al-Turki, Lebanese director, Nadine Labaki, and international singing sensation, Elissa, applauded his red carpet worthy pieces.

Another designer whose front row reflected an international who’s who of red carpet attendees was Zuhair Murad. From Chinese starlets to Fashion TV’s favorite faces, his clients were not disappointed by his demonstration of curve-hugging gowns that celebrate the female form. The collection seemed tailored made for them—those selective few whose realities are made up of flashing bulbs and televised galas. Their standing ovation for the Lebanese designer as he walked out with his strapless wedding gown with a full skirt that flowed into a silk train embellished with geometric patterns in silver; was further testament to their fondness over the collection.

Murad’s 46 looks provided a recognized spectrum of contemporary luxury. From an art-deco inspired beaded sheer caftan to a seductive bat sleeve, backless romper, his designs were very on trend with other fashion houses and flawless in their execution. His “Glam Futurism” combined the trade traditions of pleating and asymmetrical cuts to produce flattering silhouettes in eye-catching textures.

But it wasn’t only about the Arab couturiers.

Stephane Rolland, who is possibly one of the most coveted designers for Saudi haute couture clients, presented his collection through the creation a poetic film that starred Spanish model and last muse to the late Yves Saint Laurent, Nieves Alvarez and the director behind YSL’s latest biopic, Jalil Lespert as the leading man. Each design could have stood alone in its own museum wing, which I do not doubt Rolland believed also; and had in mind when he decided to exhibit his dresses on mannequins instead of real-live models—a choice many editors found controversial.

While the presentation may not have been customary in the world of Haute Couture, it seemed the perfect vehicle to transport us to the world of Rolland. Each piece was given a context that allowed for it to shine even beyond its meticulously beading and gravity-defying structure. The film was a lyrically ode to a woman, much like this collection is a manifested ode to Rolland’s woman—his sophisticated, femme fatale.

While Ralph & Russo, maybe the first British house to ever have an official place on the Chambre Syndicale de la Haute Couture’s schedule, we’ve had our eyes on them since the duo began dressing the likes of HRH Shiekha Mozah, HH Princess Ameera Al-Taweel, and celebrities Beyoncé and Angelina Jolie. Their sophisticated approach to traditional haute couture has reinserted a nostalgic elegance that otherwise seemed to be diminishing in the industry.

Reading the descriptions of each look in the press dossier, one might think they were reading a wardrobe inventory for a period piece based in Versailles; but then phrases like “silk zibeline pencil peplum” and “sheer tulle jumpsuit” bring you back into present-day. Their perfect balance of romanticism and sophistication has created a coveted brand DNA that is sure to turn the label into a serious contender for other contemporary haute couture houses.

Style icon Olivia Palmero may have been front row for support, but it the Qatari and Saudi royal families who are the house’s most ardent advocates. A brand that has become a new favorite to the region, the design duo ended their show with a 7-foot train bridal dress on none other than Lancôme face and Tunisian supermodel, Hanaa Ben Abdulssem.Read more here:SheinDress yellow prom dresses

PLEASE keep all discussions relevant to fashion, textiles, beauty products, or jewelry.

Follow the Fashion Industry Network Rules.

It is always a good time to review fabulous fashion.

 

Hot topics of possible interest:

  Thank you for using the Fashion Industry Network.  Have you helped another member today? Answer questions in the forum. It brings good luck.