The third day of Paris Fashion Week concentrated on the blend of mixed materials and sensual textures. From Manish Arora’s dreamy, free-spirited prints and embellishments to Sharon Wauchob’s use of elegant lacework, this day exemplified the craftsmanship in fashion. Schön! not only brings the complete coverage of Rick Owens, but also insight into the collections of Roland Mouret, Ann Demeulemeester, and Gosia Baczynska.
Roland Mouret openly dedicated his Spring 2015 Collection to the woman of 952 Madison, en avance at his New York store opening. Paying homage to the customer who knows what she wants, the London-based French designer hurled an assortment of pop-candy brights with elevated floral appliqués at the Palais des Beaux Arts. Primary yellows and hot reds contrasted with lilacs and emerald greens, and were coupled with a Hamptons-inspired white, making for an East Coast-influenced vibe. Details arrived in modern lace adaptations with laser cut hibiscus prints dividing cotton mesh. Furthermore, lily motifs lay across playsuits, subtlety matching the floral.
Hypnotised by the all-seeing eye that continually reappeared throughout the collection, we were fully on board Manish Arora’s psychedelic journey of roses and jewels. In a beautiful array of separates that included shimmery bandeaus, wide legged pants, and lighter-than-air cardigans, Arora injected a sense of galactic travel in his looks. The eccentric accessories were fully embellished with a twist of cherry sweet and delicious fun. We loved the baseball caps, triangular backpacks, and dazzling headpieces fit for a princess. The Indian designer mixed and matched landscape prints with transparent chiffon to create a rosy cotton candy dream. As the collection moved into iridescent shades of sea foam, a hint of kimono wraps appeared. The final note of the défilé featured a line of models sporting a holographic print of a Hindu god with his tongue stuck out, a sly prod at modern art and fashion.
The dark location of Ann Demeulemeester’s show echoed her sombre design aesthetic. This season the house’s new creative director Sebastien Meunier took a more familiar approach to design that still honoured the soul of the brand’s trademark.
Dark romance met rock and roll in this collection, which included tailored black waistcoats in an array of textiles paired down with white trousers and laced boots. In contrast, there were angelic whites in the form of a head to toe mesh dress with white pants fitting tightly and minimal leather boots. Paying homage to the label’s founder, the collection was a beautiful testament to the aesthetic legacy of Ann Demeulemeester.
The spirit of the sixties was the catalyst that drove Sharon Wauchob to compose and design this collection, a period in time where risk taking and originality heralded across fashion, art, and music.
A sense of vintage took to a more modern and approach. The embroidered skirts and lavish jackets were matched with gladiator-like sandals. Bulky, silky coats in electrifying blues and silvers gave a sort of cowboy effect with tassels and frills on the outfit; this was complimented by the nude and red eyes, and slicked back hair. Fluidity and movement were the focal points of the collection.
Christened Faun, Rick Owens’ new collection drew inspiration from L’après-midi D’un Faune performed by the Ballet Russes. One by one, nymphs emerged from the corner of our eyes in ethereal constructions of earth and dust. Sweet romance from spongy tulle and sophisticated pleats juxtapose carnal undertones in tribal cubism and blue-fleshed models. Slowly, monochromatic hues were introduced in forms of puffy jackets with sleeves placed at the neckline. Owens orchestrated a harmonious ballet, where organic creatures dance in the primitive shadows of our minds.
Referencing Anais Nin and Henry Miller’s “Work Schedule,” Polish fashion designer Gosia Baczynska reinterpreted forms this season. Black speckled garments were pristine in silhouettes, with a touch of naughty in cut out skirts or peek-a-boo lace. Polished collars added a school girl charm, whereas bold prints proved that Baczynska channelled her inner good-girl-goes-bad.