discover what to wear from the Paris fashion week s/S 16

14 Oct

Love the air in Paris during the Fashion week , one week we enjoy the fashion from the morning till… Morning) Yes exactly till morning. As most of the shows has an after party , dinners and private night club party. So in the morning we need to catch the shows and after dinners, cocktails , after party … and you look at your watch and you see its a morning …

Even with sleepless nights we are charging ourselves with fashion , meeting new people , discovering something new… We always can dicover something new… ideas what to wear , how to build your closet .

Every valid fashion show has a built-in sense of its place in the world, of where the clothes fit in and where people are supposed to find it exciting and useful to wear them. Complex conceptual scenarios from deep within a designer’s brain can only fascinate so much if the clothes don’t have any imaginable destination other than a fashion shoot or awards ceremony. So one of the subtexts running through this season is the need for fashion to readjust, widen its perspective, and stop excluding so many people’s realities.

Smart creative minds can sketch in an environment subliminally, which is exactly what Julien Dossena was up to today at Paco Rabanne, as he ran a patched-in, mixed-up soundtrack on which the far-off noise of a live performance seemed to boom in the distance. Actually, that noise was heard at Chloé, too. And we all relate to what that means: festival sounds, the new massive social dressing-up opportunity for a generation—from the beginning of every summer to its end.

my favorite peaces from Paco Rabanne

The 1990s is one of Spring’s big stories, but no one has put forward her interest in the decade more explicitly than Clare Waight Keller at Chloé. On every seat, there was a printed note: “This season’s collection is a tribute to girls named Kate, Chloé, Cecilia, Corinne, Rosemary, Emma, and Courtney, who embody the liberty and the elegance of a perfectly mastered and excessively lived simplicity.”
For Waight Keller, they represent a freer time: “There’s such a fast pace to fashion now; I think we’ve lost the innocence of the spirit of fashion, the youthful optimism that it portrays. And I think there’s something quite joyful about fashion that’s been missing.”

In keeping with that sentiment, she imbued the new collection with a playful spirit, quite literally in the case of the rave-girl tracksuit separates she started with. Athleisure is something different for Chloé, and it was most convincing when Waight Keller combined a split-hem track pant with a romantic, off-the-shoulder shirt typical of the brand. As the show progressed, it took on more of those familiar Chloé tropes—festival dresses, peasant tops, lacy little bandeaux and miniskirts—but never lost its ’90s leanings. The denim separates were oversize and frayed. Overalls—in trouser and dress form—conjured images of raves gone by, too. There were even Hammer (as in MC) pants. All of which will likely play exceedingly well with young women who missed out on them the first time around.

Chloe Fashion Show

There was a certain “greatest hits” mood at Alber Elbaz’s Spring collection for Lanvin, with reworkings of the themes he knows and loves: deconstruction, sequins, loose glamour, and the house of Lanvin itself.

And, bringing the heart, soul, and attitude back to Paris fashion, please welcome . . . Mr. Alber Elbaz!

There’s a little bit of a fightback against one-note, compliantly market-obedient fashion going on at the moment, and how nice it was to see Alber Elbaz putting Lanvin out there on the front line tonight. He staged his Spring collection literally as theater, placing the Lanvin name up in glittering lights at one end of the runway and sending out a show he said was a “manifesto.”

Lanvin in love almost with every peace

We are flying with Chanel

Chanel transformed Grand Palais into Terminal Chanel

The collection elevates loose cut street wear into new heights. The luxuriously elegant loose fitting garments make flying first-class even more luxe. The overall theme got plenty of nods, especially the shoes featuring flashing runway landing lights around the soles. We also loved the fresh use of tweed in the pieces.

We loved the accessories. Think novelty bag and LED light shoes – what’s not to love?

There was unsurprisingly a stellar front row, including Karl Lagerfeld’s muses Lily Rose Depp and mum Vanessa Paradis and Jean-Paul Goude. Model-turned-actress Cara Deleveigne walked the runway with Lagerfeld and his godson Hudson Kroenig.

There was a standing ovation at the close of Valentino . The pair had embarked on a journey to “wild, tribal Africa” and the collection featured fragile Masai-style beadwork, embroidery, leatherwork, batik-printed parkas, feathery adornment, Zulu mask embellishments, and primitive, white terracotta chokers created with the jeweller Alessandro Gaggio.
The designers described Africa’s “imperfect purity” as an essential feature of 20th-century avant-gardism, and said that they had “nourished this same energy” here. Moreover, cultural appropriation is nothing new. In 1967, in Yves Saint Laurent’s “African” collection, the designer wove raffia skirts and conical bras inspired by the Bambara people of Mali to create his haute couture show. It made a star of Saint Laurent. In Alexander McQueen’s 2000 “Eshu” collection, models wore great stacks of neck rings and hairy, scary Yoruba masks. It starred the Sudanese model Alek Wek. In Jean Paul Gaultier’s “African” couture show in 2005, models were dressed in enormous afros.

And so I clapped along and decided to see the show as a lot of very pretty dresses with a rich cultural history. One buyer described the collection as seeing “money before my eyes”. It will sell by the lorry load.

“Women are my muse, women inspire me,” said Stella McCartney, hugging her sister, the photographer, Mary, backstage after her SS16 show at Paris’ Palais Garnier this morning. “I wanted to celebrate all different types of a woman.”

How she decided to convey that was through her shapes, which were long and slim and later sculptural but fluid, full of movement, and also in strong primary colours – which gave a powerful kick to a technically accomplished but easy-on-the-body collection.