Bold, high drama
Sarah Jessica Parker, Christina Aguilera, Liv Tyler and Gwen Stefani were all in Paris this week for the spring-summer haute couture shows, shopping runways for the rarest awards show gowns ever made.
At Christian Dior, John Galliano gave them a pharaoh’s welcome, sending out gilded, bejeweled creations fit for modern Cleopatras. Light bounced off pyramid-shaped dresses made with golden mirrors, while glam mummies paraded in bandages of black silk tulle flashing with multicolored sequins. One model wore a giant jackal mask representing Anubis, the god of the dead, along with a multicolored shawl, a turquoise sequin jacket and floor-dusting skirt.
At Chanel, Karl Lagerfeld played with contrasts -- topping a black silk crepe skirt with a cloud of white tulle, lace and pink satin ribbons. A spare black jacket and white blouse were worn with a slim skirt that looked like a column of feathers. Modeling a bridal ensemble, Alec Wek came out in a volcanic cloak of creamy white lace and ostrich feathers, then discarded it to reveal a simple sheath underneath.
Italian designer Donatella Versace staged her first couture show in Paris in 18 months, hinting that the house may be back on track after embarking on a financial turnaround plan. Held at the Roman-style swimming pool of the Ritz hotel, it was more low-key than the star-studded extravaganzas of the past, but there was nothing subdued about the clothes, which included a sleek white satin suit with a rock-candy crystal belt, and divine little pastel minidresses that looked as if they might have been made with a can of haute Silly String.
Jean Paul Gaultier transformed the ancient armor of samurai warriors into modern weapons of seduction. Pony skin was cut into fine patterns and floated on coffee-colored chiffon, and a red halter-neck minidress made from oblongs of granulated leather was laced together with chiffon strips.
If Gaultier aims to surprise, Valentino thrives on continuity. There was nothing groundbreaking in his collection of cocktail dresses and red carpet gowns, which included plenty of pink and polka dots.
Christian Lacroix, a former art student, splashed, dribbled and painted his kaleidoscopic collection to exuberant effect. Yards of scarlet and fuchsia chiffon, lace and ruffles were pinned to the body in layers that floated with every step. A pair of sleek dresses in inky violet and flawless oyster satin provided a sharp counterpoint to all the frills.
Emanuel Ungaro indulged his passion for clashing patterns with a jumble of floral prints, polka dots and animal stripes in vivid purples, pinks and yellows. He kept the overall effect light, however, by using fabrics such as jersey and silk. Kimono-style jackets were hand-painted with bird and flower motifs, their edges embellished with sequins. Necks and wrists dripped with gemstones, while stiletto heels were studded with pink rhinestones. Watching from the wings were a dozen seamstresses, part of the shrinking pool of artisans keeping alive the tradition of haute couture, the production of made-to-measure outfits.
