Paris fashions skirt the present for the past


Do designers look forward or backward for inspiration and direction? We have just come out of several years of fashion subservience to the cult of Marie Antoinette. Yet last week at the Paris fall 2008 shows, there was nary a milkmaid ruffled frock to be found in most collections.
Fashion history lessons, however, are always available, and no designer is fonder of runway tutorials than John Galliano for Dior. His early-'60s-style ensembles of boxy jackets and pleated dresses in color blocks of chartreuse, violet, pink and orange recalled well-dressed women in the era between JFK's Camelot and the flower children. High-crowned, broad-brimmed hats with big hair and heavy eyeliner added a hard-edged, aggressive glamour.
Andrew Gn is another who enjoys historical reference. His exuberant if slightly gothic show featured sheer, high-necked blouses worn with high-waisted trousers and lacy three-quarter coats. When asked backstage about his collection, the designer said, "Simply Oscar Wilde." But one had to wonder whether he'd had another Oscar in mind, namely Oscar de la Renta, for whom he once worked at Balmain.
"It's all about color this coming season," said Ken Downing, fashion director at Neiman Marcus. "We will see a lot of shiny looks, and the juxtaposition of matte and shine."
For the first time in several seasons, accessories took a backseat to clothes. Christian Lacroix proved that fewer accessories and embellishment added more elegance and glamour to his best show in years. It was at Chanel that the embargo on accessories was most apparent. The models wore black and white, long and short, distressed and impeccably cut skirts and jackets, but no trousers were shown. They embraced the oversized handbags and shoes on the stage, but did not carry or wear them.
Two very different debuts took place this week. The highly anticipated Valentino collection by former Gucci designer Alessandra Facchinetti was pretty and girly, a young take on an old master's metier. The era of classic Valentino is over, and although older socialites and movie stars may weep, younger women will prefer Facchinetti's natural, fresh style.
At Emanuel Ungaro, 23-year-old Esteban Cortazar, a Colombian native who grew up in Miami, made his debut. (See story, front page).
The geometric black and white beaded gowns at Elie Saab were spectacular. Although he is sometimes dismissed as too formulaic, Saab has the pulse of pretty. This is what many women want, including actresses and socialites who embrace Saab's brand of glamour and femininity. At Lanvin, the color was black, but the moment was modern and light-hearted. Again, this was an accessory-free collection, which no doubt added to the lightness. Designer Alber Elbaz is rapidly becoming fashion's darling. His clothes have the quality of exactly fitting the moment. The collection is unfailingly chic and refined, but with enough edge to be memorable.
John Galliano's own collection owed much to the show's set and choreography. He created Xanadu, with a giant Buddha, incense, naked men lounging on a sofa, and bird skeleton mobiles. His models skipped onto the runway and scampered through the Asian motifs in short fur jackets over graceful ankle-length dresses. The best gowns were in floral printed chiffon, which are so desirable at the moment as to be almost cult-like. The schizophrenia between Galliano's exuberant and youthful signature collection and the historical and hard one he designed for Dior is this season's most thrilling fashion mystery.





