Lanvin shows its sharp edges, Viktor & Rolf goes for versatility
Lanvin’s Alber Elbaz is the creator of a specific brand of imperfect glamour that has dominated clothing design over the last few years.
Because of him, asymmetrical ruffles, organza and grosgrain ribbon trim, and unfinished seams have taken over T-shirts, jackets and dresses at every chain store on the planet, including J. Crew and Ann Taylor. And that doesn’t include what he has done for the costume jewelry industry with his ribbon-strung pearls.
So Elbaz was right to sense that it is time to move on to something stronger, more aggressive and less frilly.
Elbaz’s fall collection for Lanvin, shown over the weekend during Paris Fashion Week, was inspired by Africa in winter. Not that he’s been there, he explained after the show. It was a trip taken from his couch, where he began thinking about primitive shapes and patterns, circles and squares.
That vision resulted in a look focused on sharp cuts rather than soft drape. Although it was architectural, it was still feminine. Shoulders, for example, were a focal point, and yet the models did not look like linebackers.
For daytime, a striking pumice-colored jacket had an interesting Cubist feel, and an oversize, cocoa-colored coat struck a balance between power and elegance with dropped shoulders, a cinched waist and a skirted bottom.
Although the thrust of the collection was day wear, there were some stunning evening looks, too, including a fierce black shift dress that had a shoulder line with a sharp, papery edge, and a row of crystals down the back. The incredible fan pleating radiating toward one shoulder on a gold lame blouse was mirrored by the pleating at the hip of the black skirt worn underneath. You could sense Elbaz’s touch in every fold.
The drama built to a finale with a tribal edge. Short dresses and jackets were embellished with patches of fur, the glint of primitive-looking jewels and feather collars. “I wanted to bring back the purity of design,” Elbaz said, “but keep it emotional.”
Mission accomplished.
And although Elbaz originally wanted his models to make a dramatic entrance descending a spiral staircase, he changed his mind at the last minute. They made a dramatic exit instead, walking up the stairs and wreaking havoc on the production, hair and makeup setup in the process.
“I would rather see women going up than coming down,” the consummate showman explained.
Bravo.
At Viktor & Rolf, the show was the thing. At a time when the fashion industry is redefining what luxury means, designers Viktor Horsting and Rolf Snoeren pulled back the curtain, and put the nuts and bolts of the design process center stage on their runway, transforming one garment into another and another in front of our very eyes.
It was similar to what Dolce and Gabbana did in Milan, when they used footage of workers in their atelier as a backdrop for their runway show. The message? The human touch is what you get when you pay designer prices. Luxury, in other words, is personal.
Horsting and Snoeren didn’t miss a beat, dressing and undressing model Kristen McMenamy in 23 layers of costume changes. With Lindsay Lohan and “CSI” actor Gary Dourdan looking on from the front row, the event was a comment on the spectacle of fashion, too.
A runway show must have entertainment value, something these designers have delivered from Day 1. And that’s especially true now that runway performances are brand advertisements competing for eyeballs on the Internet like everything else.
Not surprisingly, the clothes were quite versatile, with crystal-studded pulls to release the bustle on a black evening gown, and a dress unzipping and reversing into an anorak. Coats were enormous, allowing them to be layered upon layers. Which meant that this was a collection for all shapes and sizes, from Lohan to the bodacious Beth Ditto, who was also sitting front row.
Plus sizes and petites all rolled into one. Now that’s a novel idea.
