I love the roundedness of the lace top and the way the underlayer fades away like a distant memory. The tiered skirt recalls an upside down wedding cake and the irreverence of the wellies comes across as refreshingly unfeminine.
For this look, they took classic couture shapes and technique like the pleated peplum and infused it with a sportive edge, adding a club collar at the neck and styling the model with a kiddish baseball cap.
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This newfound attitude was apparent in a head-to-toe look covered in images of coiled snakes. The silhouette was soft and feminine, but the print had an aggression that imbued the look with an unmistakable power.
I also loved the beading at the shoulders that recalled an intricate plate of armor. Here, the MMM design team made a shapely hourglass silhouette from just a black ribbed cardigan and floor-length skirt.
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The hem at the waist of the sweater creates a feminine proportion and transforms the portion of the sweater underneath it into shadows of a peplum.
The sheen of the skirt adds a nice contrast to the matte quality of the top.
I love the whimsy in this look — textured lace, ruffled shoulders, a cascading stream of bird feathers. The ruffles trend continued into Paris this week; although designers ditched the fiesta flair from the Milan shows and replaced it with a quieter elegance.
Alexander McQueen ruffled the hems of a floral jacket and paired it with wavy peplums, while Dries Van Noten and Givenchy took a more minimal approach, adding sinuous flaps of fabric to monochrome looks in black and creme.
Looks from Lanvin, Givenchy, and Giambattista Valli. A number of heavy hitters stripped away the excess of previous collections and presented pared-down looks that dazzled in their simplicity and innovation in form and proportion.
Givenchy and Giambattista Valli showed a number of looks in silk and stretch cotton whose layering and subtle color contrast recalled the minimal, deconstructionist paintings of Kazimir Malevich.
Junya Watanabe showed us an entire collection of dresses done in floral-shaped lace and worn over little black dresses; At Louis Vuitton we saw club collars and pencil skirts with magnified lace made from 60s-inspired daisies; and at Miu Miu, would-be cheery lace dresses took on a slightly sinister quality in their dark color palette of magenta and slate.
The textured floral trend carried over from the Milan shows, imbuing the Paris collections with a girlish levity. For its bride-as-prisoner collection, Commes des Garcons accented its restrictive white coats and dresses with soft white roses.
Chanel showed us a floral top in shades of seashell pink, while Sarah Burton of Alexander McQueen imagined a poppy trapeze dress covered in what looked like fiery carnations.
A number of them were styled over shirts buttoned to the top, and they varied in length, lapel style club collars were a popular optionand number of buttons often zero or just one.
The surprising must-have item from the Paris shows was the body bag, or some wearable form of it. More than a few appeared at Rick Owens as high neck, floor length dresses made from single cuts of leather, and a handful spiced up the runway at Martin Margiela in clear plastic.
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It seemed appropriate that all the body-bag looks preceded Sunday, as if they were preparing us for the dead-end debut collection by rapper-turned-designer Kanye West.
But during the show, the mystery of his ghost design team became irrelevant as ill-fitting, hoochie club wear came down the runway and we realized that the show was his singular vision.
Necklines plunged below the belly button, pants bunched at the ankles like scrunchies, and dresses made of 2-inch strips of fabric wrapped around the models like bandage tape.
They looked like post-clubbing hospital victims. She showed a macabre parade of white-out brides with sleeves either tied together with a bow or magnified to the point of resembling pant legs.
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Kawakubo was commenting on the burdens and restrictions brought upon by marriage, and how this process is veiled in pretty dresses and fanciful ceremony.
Her message was clear and artfully conveyed, and the clothes were really lovely too.
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Hems were lined with lush flowers, skirts billowed like expanding cumulous clouds, and dainty white lace peeked out from under creme silk jackets.
Some of the most awe-inspiring looks came toward the end of the show as diaphanous skirts constructed from tumor-like panels with cage-inspired ribbing.
They had a nice transparency, which worked well over simple black dresses and under ruffled leather jackets. It was simply a joy to look at. I also enjoyed the headpieces in the collection, which called to mind mangled chickens contorted in every which way.
You could feel this in the overall sinister attitude of the show, as conveyed by ebony tops covered in black scale-like paillettes and jackets accented with leopard sea wolf skin.
Gigantic shark teeth swung from necks like weighty pendulums and metal chains replaced cloth straps. The show had a dually soft side, though, as seen in the gentle ruffles on skirts and the calming shapes of peplums on tailored tops.
Like Givenchy, Lanvin had a darker tone than usual this season. Designer Alber Elbaz bathed the runway in dark blue and soft lighting, making it seem as if the models were walking on the bottom of an aquarium.
The clothes — pared-down black and navy dresses and suits — echoed this effect and gave the show a sharp, clean aesthetic. It looked like what a moody Raf Simons might design.
The prints of coiled and slithering snakes were alluringly menacing and some aggressively beaded looks added nice visual texture.
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There was definitely some angst in Paris this season, in the bleachers as well as in the clothes. Looks from Prada, Moschino, and Bottega Veneta. The bodysuit was an unexpected must-have item from Milan this past week.
Prada showed a yellow and grey version with streamlined seams emphasizing an hourglass silhouette; Bottega Veneta gave his bodysuit a sportive flair, pairing it with a patterned gym bag; and Moschino took a sexier approach, imagining it in white lace and leaving a circular cutout just above the belly button.
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Looks from Emilio Pucci, Moschino, and Missoni. Some designers looked to Spain for their latest collections, introducing looks recalling sultry flamenco dancers swaying to the beat of a drum.
They did these looks in bright primary colors — red, blue, golden yellow — and decked them out in wild ruffles and diagonal hems. Prada showed us a more subtle, sweeter interpretation on a pink pencil skirt with lemonade flowers.
This season, a number of designers used goat hair to up the luxe factor.
An exercise in contrast, Etro used hair in angelic white to embellish an otherwise simple sweater worn over a flowy evening gown. Missoni dyed her goat hair Yves Klein blue, giving a handful of her Spanish-influenced looks a colorful sashay.
The ubiquitous mesh trend we saw at the New York shows carried over to Milan, but instead of imbuing the shows with roughed-up athleticism like at Alexander Wang and Altuzarra, here, it gave the collections a distinct softness.
I loved the mesh two-piece dress at Jil Sander. The enlarged pores felt new and recalled a giant, elegant sponge. This is a precarious look for the average woman.
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Not only is it a crop top, its body-conscious fit puts mere mortals in danger of displaying a whole feast of unflattering bodily delights: muffin tops, donuts, a gut.
But real-world concerns aside, this look is gorgeous. The panel of midriff adds interest to what could have been a stale sundress, and the angular neckline gives the top a structured, yet freeing quality.
I particularly enjoyed a duo of plump seahorses on what looks like a white leather top. It had a plain girlishness to it, and all the swirls recalled an updated paisley.
The skirt it was paired with was also nice, featuring constellations of studs that looked like the shell of a sea urchin.
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The styling of the collection was also in good taste. Putting a thin white dress under the mesh imbued the look with a modest elegance, and the smooth up-dos kept the overall look impeccably clean.
Emilio Pucci puts forth the best prints in Milan. For this look, he took the ubiquitous pastel palette from the rest of Fashion Week and infused it with jolts of cobalt blue.
The way the colors melt into each other has an ethereal quality and recalls strokes of watercolor paint bleeding into each other on a canvas.
I also love the fluidity of the train. It trails behind the model like a mere memory. For this look, Castiglioni put her own spin on the mesh trend, laser-cutting squares and tear-drops onto a black, burgundy, and marigold frock.
The mix of textures is nice, and the overall blockiness channels a modicum of Lego-esque inspiration. After the sportive looks from New York and the scattered themes from London, the runways in Milan have served up some food for thought in both runway concept and casting.
At the Jil Sander show, designer Raf Simons widened armholes, lengthened sleeves, and cut hems at mid-calf to create some fresh and sophisticated silhouettes.
He introduced a new neckline on a duo of tailored jackets, too, cutting the lapels straight down until they reached a horizontal plane of fabric, resulting in a rectangular cutout exposing the sternum and some seductive side cleavage.
I also enjoyed the crop tops layered over thin dresses and paired with long skirts. The paisley prints were also a boon, done in faint pastels evocative of an Easter egg hunt.
They were clean and pared down — purified.
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As I take it, Miuccia Prada is a feminist of sorts. She put men in skirts and braziers for falland this season she dolled up her women in garb covered in racer flames and toy cars — a comment on objectification.
She also loosened her silhouette on a series of cowboy-meets-dandy jackets decked out in retro florals. The sunburst pleating on some of the skirts was nice.
They contrasted well with the tougher, more structured pieces and gave the collection a dose of old-school femininity. Sticking to her concept, though, Prada printed these with streamlined figures reminiscent of 50s race cars, imbuing the looks with an aggressive intellect that might have looked stronger had they been tempered.
Prada has a social conscience — I get it — but her collection could have benefited from a more relaxed attitude and abstracted interpretation of her politics.
I do applaud her audacity, though, and the articulation of her somewhat controversial standpoint in an often socially deaf industry.
It actually made me salivate. The collection took me back to s Italy, on some scantly populated island with lush gardens, sumptuous food, and a very tan Sofia Loren.
But at least they ended the presentation on a festive note with their joyous colors and shapes that resembled fireworks. It was definitely a show to celebrate.
The color palette could have used a boost, namely the faint peaches and blues that conjured dirty dish water. There were also a number of looks in black-white combinations, like a black shift dress with white collar, that brought to mind a French maid uniform.
The strongest items from the collection were two sheer sweaters with thick, imposing cable knits running down the front and back like pillars. They had a strength in their visual weight, yet the transparency gave the look an overall soft, cozy quality.
After all, her latest show let us know that she knows how put out a collection that is glamorous, aesthetically sophisticated, and commercially appealing — and that alone is a lot to ask.
I loved the deco effects on a series of gold, black, and white cocktail dresses, especially one paired with a giant feathery stole.
The hard lines also gave a structured, architectural form to the overall easy silhouette of the dresses. The styling was also notable.
All they needed were some guitars and a cold sway.
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