Open to Exposure

The naked truth, the sheer fact, the transparent motive and other French fashion mysteries will be exposed this spring.

Transparent clothes--from icy-colored organza shirts by Claude Montana to punched black leather tops by Christian Dior to perforated paper dresses by Comme des Garcons--were part of every Paris collection.

Montana did it best with his see-through, man-tailored shirts, big enough to wear as coats over short body dresses or Capri-length pants.

Only sheer madness could make women wear the look anywhere near the office. But otherwise it seems right.

Transparency played an even more important role from the designers’ and retailers’ point of view. It helped make long skirts look more appealing. And every spring collection included something long.

Karl Lagerfeld’s ankle-length skirts started in solid fabric, then switched to sheer at mid-thigh. Other designers used slits, zippers or buttons to open up skirts and expose more leg.

Above the knee, but just barely, was another, better option. At that easier, more energetic-looking length, skirts looked best if they flared or furled at the hem.

Pantsuits, always revived when long skirts return, were monochrome, not plaid or printed. Most had very narrow pants and elongated jackets.

Denim was a plus in many Paris collections. This was denim in disguise. Jean Paul Gaultier used awning-stripe denim for short shorts, blazers and bra tops. Dior showed denim jeans printed like green and ivory toile.

Lingerie is the only absolute in Paris right now. But this is the lacy, feminine, romantic kind--nothing trashy.

Valentino trimmed silk print rompers with beige lace at the neckline and leg. Christian Lacroix used lace insets and trim on evening dresses. Yves Saint Laurent’s red lace slip dress was strapless, bustier-like, and short as could be.

As with sheer dressing, lingerie should be used with discretion.