While Poiret made a comeback, Hermes showed off an edgier side to its aesthetic. Elie Saab, on the other hand, drew from 19th-century romanticism for its dark and broody collection.
Here’s a lowdown of the Poiret, Hermes and Elie Saab Autumn/Winter 2018 shows from Paris Fashion Week. – AP
The Return Of Poiret
After an incredible 90-year hiatus, the famed house of iconic designer Paul Poiret – who freed women from corsets – has returned to the Paris runways.
It’s an incredible comeback for a design house considered to be among the most influential of the 20th century. Paris-born Poiret’s house collapsed in the 1920s after the tumult of World War I changed the fashion business landscape – but his legacy lived on.
Chinese-born couturier Yiqing Yin unveiled her debut ready-to-wear collection for the house famous for its loose, fluid silhouettes. Yin captured the spirit of Poiret in her 39 soft, gently flowing styles in a rich and varied color palette.
An enveloping loose shawl in white and gray was wrapped asymmetrically around the shoulders as the hem of a sparkly metallic dress peeped out. An Oriental Chinese red satin pant suit beautifully captured the mood of the 1920s and Poiret’s penchant for styles of the east.
Yet the designs, which very much bore her fingerprint, were never overly reverential. Yin used large bows and belts to cinch the waist in a contemporary style, showing that this Poiret woman lives firmly in the present day.
Hermes Shows Off Its Colours
With an exotic set and a glowing red runway, Nadege Vanhee-
Cybulski emanated quiet power in a collection that showed off her skills as a colourist and signaled that the Hermes designer is growing in confidence.
Starting in black, slim silhouettes in graphic styles gradually changed colour and moved into powerful hues of midnight blue, vermilion, tan brown, mustard yellow and lime green.
With subtlety, the 1980s was referenced in soft belted leather coats, shimmering leather pants and knee-high boots in contrasting colours.
Detailing such as embroideries across a shoulder had a Latin American feel and demonstrated the famed craftsmanship of Hermes, a fashion house that in France has become a byword for luxury.
Vanhee-Cybulski’s penchant for checks produced a beautiful square brown dress. But the real finesse was to be found in the collection’s colour combinations, such as when a belted jumpsuit in maroon was set off stylishly by a soft vermillion coat.
Elie Saab’s Victorian Fashion
Elie Saab went to the “dark romance” of the Victorian era for inspiration for his brooding Autumn/Winter offerings.
The house produced a predominantly black collection of high necklines, statement bell and Juliette sleeves, defined shoulders and lots and lots and lots of ruffles.
There was a delicacy to some of the fabrics and detailing such as in large velvet bows draped from collars inspired by the 19th-century paintings of France’s Auguste Renoir.
Saab fused that covered-up era’s styles with an exploration of all things floral – and served it on his bread-and-butter design choice, cinched-waisted gowns.
The collection, entitled “Winter Bouquets,” had blooms as prints, embroideries and appliques in white, blush, powder blue and burgundy.