Paris Fashion Week‘s last stop, track, please keep an eye on our best runway looks from the top of the collection. see the excellent looking for the fall of 2017.
Looking at the warm light pink t-shirt knitting with a small crystal R originally in the left chest, matching skirt skirt and super cool big glasses, someone might think that Alexandro Dell ‘Aqua is imagining a modern ravenin and Shirley both. They tried to make it in Paris, living on the edge of the swamp, renting and blowing all their cash to spend too much on clothes and champagne. Except that they did not have fun ls, because the clothes Dell ‘Aqua issued a serious Rosa.
Dell’Acqua does pretty dresses better than most, and fall was packed with plenty of femininity—pleated chiffon dresses with bows; prim coats with contrast lacing and black lacy frocks. A black floral brocade was worked into three different dresses that could work on many generations—the strict long-sleeve mini for the millennials, the strapless a-line for the young business-owners/moms, and the long-sleeved knee-length shift that looked effortless and ageless.
Coming, the opening trench with a scooped out sweetheart neckline at John Galliano’s Maison Margiela show felt like a happy sartorial hybrid of Galliano’s Savile Row roots (he worked for Tommy Nutter while at design school) and Margiela’s deconstructed m.o. Going, the coat featured a cut-out of the Statue of Liberty’s iconic crown. Ok, let’s not waste any time. But rather than Lady Liberty making a rallying point, Galliano stated in his show notes that “Iconography is founded in collective emotions created by the memories which unite us and give us hope.” In other words, take a beat and think about our shared experiences.
There were nods to another famous American lady, Marilyn Monroe, seen in a great oversized black sweater and perhaps felt in the innocent-sexy white tulle dress. Galliano tapped into American standards a few weeks ago for his Artisanal couture collection, and he carried those sentiments, motifs and details through to ready-to-wear. Not just seen on the Monroe and Liberty ideas, but in the workwear, fleecy-shearling zipped dress, faded jeans and a navy polka dotted dress that as deconstructed and reworked as it was still had the faint whiff of ’40s- and ’50s-era nostalgia clinging to it.
Vaccarello loves leather; Yves Saint Laurent the founder loved ruffles and ready-to-wear wardrobing. Put them together and you’ve got a heady mix of separates that are understandable but fun. Leather mini skirts and dresses with dramatic plumes of ruffles, worn with sensational shearlings, skintight jeans or workmen’s jackets.
There was a pretty large party on this runway of little black dresses that featured some kind of architectural fold rimmed with silver that either uncovered and framed a shoulder or sprang forth like a glitzy wing. It was a strong sophomore effort for Vaccarello, one that intimated he was balancing his vision with that of those who have come before to keep the initials YSL some of the most trusted in the fashion lexicon.