The second day of Paris Fashion Week uncovered unorthodox tailoring from Cedric Charlier’s sleeveless forms to Yang Li’s multi textile creations. Schön! also explored the asymmetric deconstruction of Aganovich, chic minimalism in Christophe Lemaire, vintage undertones in Guy Laroche, and a quiet touch to modernism in NEHERA.
Setting the boundaries very high this season, Christophe Lemaire gave us both architectural influenced construction and strong bold cuts. Lines started folding into pleats and a medley of different layers were sown on top of each other that shared resemblance to a Rothko painting. In contrast, blouses, cape-shirts and strapless dresses shaped from light crisp materials added an easy flowing nature to the garments. Chic and timeless, that is the recipe to Lemaire’s signature beauty!
It was a story of jacket tailoring and colour-blocked frills (as well as big-bows on the toes of shoes and metallic studs) that dominated the défilé of Cedric Charlier. Within the walls of the Espace Yves Youdic, wet-look haired models in relaxed satin pants worked unfinished elongated blazers; the threading power jackets in black, yellow and peach symbolising the beginnings of the tailoring process. Blazers went from un-hemmed, sleeveless forms hosting vicious stitching in stark blues and reds, to more refined and finished looks; the classic, two-button style in black translucent fabrics grew to represent the jacket in its complete form. Opting for shades of night-time black and apricot, the collection projected bird motifs – both raven and flamingo. But the crowning jewel (notably in emerald green) was Charlier’s asymmetric evening dress with side-panel pleating, flowing seamlessly into a knee-length fishtail at the back.
Femininity, freedom, and effortless silhouettes were the words that echoed throughout the Guy Laroche collection. Taking inspiration from Claire McCardell, we were presented with electrifying prints cut onto sporty dresses and evening gowns that were strapped tightly around the bust. Laroche merged the balance between male and female by utilising light silky fabrics as tuxedos and paired down with strapless bikini tops and overalls in a yellow and grey pattern. The execution of the show was as equally avant-garde as the clothing: complex in construction but simple to wear.
The Yang Li show started off with a deep echoing of Max Von Sidow, whose voice vibrated across the white washed halls. “You will listen to my voice; my voice will help you and guide you still deeper in Europa.” Shortly after a dramatic opening, romanticised shapes and symmetrical construction floated down the runway. The designer placed a multitude of fabrics onto bodycon dresses which where juxtaposed against bold statements scribed on mesh tops. Li’s collection was an impressive performance of beauty and fragility.
This year, the creative duo behind Aganovich took a more angelic and futuristic approach to design by creating origami-like structures affixed to white blouses while stretch fabrics extended around the body. Shaping has always played a vital importance to the designers’ work; this season they reinvented new ways to tailor their jackets (in navy black and a punchy red) and create shapes using obtuse angles and uneven volumes. The balance of textures varied throughout the designs and the genius of the show was the technique of draping.
Heading east across the continent, newcomer NEHERA presented a washed-out essentialism for women; stripping back statement pieces, such as the jacket, to their purest form. Inspiration flowed from supermodel Josie Borain and her white shirt-dress, through to the minimalism of German dancer, Pina Bausch. Headed by Creative Director Samuel Drira, the fashion house led its presentation with a black on black look in geisha-meets-samurai silhouette; the ancient Japanese mix modernised by elongating the torso, creating a wearable tied-at-the waist trench. After an opening of big coats in mustard gold and deep red, and relaxed suit pants in pastel blue, a colourless aesthetic dominated Dirra’s collection, coming boxy and light in bone-on-beige-on-white combinations. With an array of quilted linen, wrinkled cottons and washed poplin it was NEHERA’s collection that reinforced an appeal in being pared away from the chaos of things – a more quiet approach to style.
Words / Benjamin Fitzgerald, and Keanoush Zargham
Photography / Ger Ger
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