If Haute Couture isn’t personal, what is? At Master the Art of Style, we are not bound to fashion conglomerates or beholden to big time advertisers. Therefore, the points made in the following essay reflect the sole opinion of the writer. As is always the case in Paris, it is during the smaller shows that inspiration and new direction are revealed. This was the case at the first scheduled show, Christophe Josse. The light, modern direction this veteran designer continues to embrace has track record appeal which can no longer be ignored. The beautiful tailoring, slices of bare skin in delicate cocktail dresses, discreet and refined embroideries, and wispy gowns, both romantic and modern in cut and fabric. Dior under the new creative direction of Raf Simmons offered safe choices for its clients, by deconstructing from the Dior archives. A beautiful dress is better and more wisely bought at one of the lesser known designers. But if the client wants a well-cut coat, she knows where she can find one---Dior offered beautiful coats and jackets for the customer who wants Dior. Alexis Mabille showed princess fantasy velvet gowns in midnight and black, very romantic, for a quiet and refined entrance making moment. The respect and the finesse were both evident and self-evidence.
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| Top and Bottom Photos: Alexis Mabille Couture Fall 2012, photo by Stephanie Kaufman for Master the Art of Style |
Chanel offered a pink and gray “vintage” pastiche. A very direct tribute to Coco Chanel, Karl Lagerfeld played up details, like trompe d’oeil tweed done in embroidery and an amazing puffball coat with white feather kitty whiskers at the collar. Certainly retro, but very, very collectible. Desirable clothes that create fantasy are what drive the couture client. Mr. Lagerfeld is the smartest man in his business. The Seventies Golden Girl took to the runway at Alexandre Vauthier’s sexy and vibrant tribute to the age of Studio 54, the last days of looking good as a way to enter a privileged, haughty world. White jumpsuits and heavy gold chain accessories were the code to “getin”. The question remains, “Into where”? But fora blast to the past, this show was good fun and well done.
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| Top and Bottom Photos: Christophe Josse Couture Fall 2012, by Stephanie Kaufman for Master the Art of Style |
on aura tout vu has been an underground favorite for ten years. The darling of newspapers Le Mondeand Liberation, the sheer audacity, humor, intellectual acuity and amazing,constant replenishment of inspiration (this team was the first to embrace cellphones and cars they had embellished on stage) endear us. The wacky headgear (“Earth to on aura tout vu”!) allied them to their loyal followers, who know that beneath the wackiness is a solid sense of craftsmanship and refinement. The team had previous to creating their own collections worked for among others, Christian Lacroix. Their accessories can carry an entire simple ensemble, and yes, they can cut a killer gown. Happy 10th anniversary, on aura tout vu! Frank Sorbier took the c off his first name and gave us a phenomenal light show. A model stood on stage and light beamed onto her to transfer her simple sleeveless, princess cut gown into a myriad of new looks. It was rather like being at the couture version of psychedelic light show at the Fillmore Auditorium in San Francisco, circa 1968, as well as contemporary virtual reality. Then models appeared in the actual ensembles. It was very funny and we all clapped for Mr. Sorbier’sachievement.
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| Top Photo: On Aura Tout Vu Couture Fall 2012, photo by On Aura Tout Vu |
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