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Photo: Agencies
It was Adieu to Jean Paul Gaultier’s ready-to-wear. The one-time enfant terrible, who turned fashion on its head and Madonna’s bra into a feminist symbol, gave his last curtain call on Saturday to a much-deserved standing ovation.
In attendance were celebrities from the film, music and fashion worlds, including actress Catherine Deneuve, singer Boy George, as well as designers Alber Elbaz and Rick Owens.
The 62-year-old Gaultier last week shocked the fashion world with the announcement he’s quitting his men’s and women’s ready-to-wear lines.
But this was not a time for nostalgia for the larger-than-life Gaultier, who has said he’s simply tired of the inhuman pace of the current fashion industry, and wishes to concentrate on his lucrative and highly imaginative haute couture. “Do I look sad?” he asked, following his electrifying show spectacle.
“So many pretty girls have kissed me tonight!”
Here are the highlights and show reports from Saturday’s spring-summer 2015 collections.
Viktor and Rolf wows in abstract
Dutch duo Viktor and Rolf, who’ve had some lukewarm seasons, seem to be going from strength to strength since they revived their couture line last year.
It’s injected their ready-to-wear with a freshness and imagination that was also apparent in Saturday’s show.
Curtain-like decorative patterns, thick rippled fabric layers under skirts, sheeny curtain-like finishes came alongside ruffles in masses of gathered material.
Was this Viktor and Rolf’s Sound of Music moment ?
Elsewhere, sporty shorts and leggings, with coloured stripes down the sides subverted this play with fabric.
Whatever the inspiration, this abstract collection, was great.
Gaultier finally let his ready-to-wear ship set sail. In a high-octane theatrical homage the showman put on a five-part journey through his design-archive as well as his wacky imagination. This, all through a ‘Miss France’ beauty pagent theme.
One of the sections of the Gaultier show was called ‘Miss Fashion Editors’ — a competition to see which of the top editors, parodied by lookalikes, had THE best look. U.S. Vogue’s Grace Coddington’s double (model Magdalena Jasek) minced down the runway with billowing red hair to cheers.
While French Vogue Editor Emanuelle Alt’s character just couldn’t stop texting on her iPhone as she strutted down the podium (a jab at the fact the real Alt is often spotted in the front row glued to her cell.)
But the loudest cheers came for Suzy Menkes, the fashion editor of the International Herald Tribune for nearly 30 years . Her double — model Lindsey Wixson — sported a large, and very recognizable quiff.
“It was great. To see myself at half my age,” Menkes quipped. “Gaultier has such showmanship. Over the years, he’s given fashion — and me — so much. He deserved this standing ovation.,” she added.
There was something spooky in the air at Vivienne Westwood’s imaginative house-of-horrors spectacle.
Discordant organ music piped out in the gilded Paris venue, while ornate doors opened to reveal mirrors behind them, eerily reflecting the audience’s faces back.
The looks continued in this haunted theme — that channeled 18th century children’s fairy stories.
It started with a Little Bo Peep look in a tied purple cape.
Then there was the smudged lipstick (or blood) on models, the historical milkmaid hats, Juliette sleeves, haunted-looking gray cassocks, baskets as headwear, and, finally, the 18th century princess gowns in surreally off-kilter lime.
Following the departure of designer Nicola Formichetti — and, with him, his friend Lady Gaga, who brought renewed interest to the house — there’s been a lot of speculation as to what the future holds for the Mugler label.
But Saturday’s debut catwalk show from Georgian-born designer David Koma will silence critics — it was a success.
The house said it wanted to go back to the pure clothes design and this spring-summer show was just that.
With an almost couture-like finesse, Koma brought the Mugler woman back to the structured, sexy yet demure aesthetic for which it is famed. (Mugler was, afterall, responsible for that Demi Moore dress in Indecent Proposal.)
Luxuriant graphic tuxedos in navy and black as well as sanitized, sharp-edged white sporty dresses were featured alongside silver snaking bands coiling around the body near slits, exposed midriffs and necks.
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