We take a look at the best from day seven in Paris.
Japanese label Sacai is one loved by many a fashion editor. Under the creative hand of Chitose Abem, the brand incorporated the popular street wear and slogan heavy pieces we have seen as a reoccurring theme of this season (all hail Vetements). Bondage straps, belts and buckles cinched at every opportunity; tied around chests, torsos, arms and thighs, completely altering the silhouette. They rubbed up against organza, lace hemmed skirts, bonded velvet and wine coloured wool pea coats. Statement jackets were also a feature, with industrial zips separating heavy-duty leather and a split-personality sheepskin biker that divided up the arms to reveal green leather bell sleeves. Abe said the collection was an “instinctual response to the dark times we are living in”, hence the ominous black eye make up.
Clean, graceful shapes were seen at the Hermes AW16 show that consisted mainly of entire colour blocked looks. Showcasing modern day minimalism, Nadège Vanhee-Cybulski produced funnel necked knitwear, full leather looks and a brown hooded shearling jacket, a piece that would have no problem making you feel like you were still in bed in those winter months. A cable knit khaki jumper, cinched in at the waist by a wide set leather belt, blurred lines between sophistication and rustic. Cashmere was out in full force, from a grey marl ensemble to a white, heavily pocketed pleated skirt suit that could stay in a woman’s wardrobe for a lifetime. An ecru leather dress was simple but, like the other pieces, made this collection feel so much more superior in the leather department, with the cashmere knits adding soft, cosier elements.
Saint Laurent’s AW16 show in Paris spoke volumes, literally. In what is rumoured to be creative director Hedi Slemane’s last show for the brand, he produced a lavish extravagance of eighties glamour, with upstanding shoulders that stood past the ears, shorter than short mini skirts and burnished sequins. “La Collection de Paris” was part two of the presentation, the first “The Palladium” being shown in Los Angeles last month, and was portrayed more as a couture collection rather than ready to wear. Stocky gold buckle belts inhaled microscopic waists; flounced puffball skirts extended from narrow bodices, with each look complimented by sheer black tights, extending the models legs even further. Scrawled graffiti and leather stars garnished leather biker jackets giving skimpy mini dresses a punk rock edge. Pointed patent stilettos came in an array of garish shades that finished off every look, together with the smudged black eyeliner and sharp red lipstick, it all had a ‘just got in at 6 this morning’ kind of dishevelment.
The Sonia Rykiel show was presented at a vast dimly lit space in the Palais des Beaux-Arts. Known as a brand that shows homage to heritage, Julie de Libran presented lean silhouettes for the sophisticated working woman, with a few risqué evening dresses to finish. The first looks came in an array of red: oxblood, letterbox and claret with tiered gypsy frills gushing to the floor from a long dress with western influences. The heritage came when collaged prints by Maggie Cardelús included the faces of the Rykiel girls: Sonia, her daughter Nathalie and granddaughter Lola, as well as De Libran, appearing on silk ruffled dresses and a leather skirtsuit. Plump hints of fur appeared as chubby coats, plush trimming on hems, pom pom toed sandals and as elaborate sleeves. Towards the end of the show came the eveningwear Rykiel always nails, sheer lace gowns and a petroleum blue sequin suit gave us all something to wear for a fabulous French party.