Vogue International Editor Suzy Menkes is the best-known fashion journalist in the world. After 25 years commenting on fashion for the International Herald Tribune (rebranded recently as The International New York Times), Suzy Menkes now writes exclusively for Vogue online, covering fashion worldwide.
A sweet spirit and a gentle attitude towards women single out two designers at the beginning of Paris Fashion Week
2 Октября 2016
Olivier Theyskens: A Fresh Return
The designer was adored by Madonna, courted by couture for Rochas and Nina Ricci and ultimately ousted from his adopted city to land a job in New York with fast fashion line Theory.
And now, Theyskens, 39, is back in Paris, showing in a small space in the Marais district with a collection comprising everything that he stands for - especially that mix of tough and tender, everyday reality and distant dream
"That is fundamental to what I believe in, when it comes naturally out of my spirit, I don't question it," said the designer, referring perhaps to that meld of sweet young thing in a trench coat tied tight around the waist and an evening dress with an embroidered train sweeping across the floor.
"It was very Parisian," I suggested to the designer of the precise cuts and slender black dresses.
This conversation was after the applause and cheers, more for the fact that the designer was back on home territory than by the strength of the show.
She wore dresses in black with dotted lace over half-bared arms, a python jacket with the texture of tree bark over a floating chiffon skirt. Or maybe a glow of colour in a slim red dress, or a black and brown coat, its geometric pattern pitting the angular against the ethereal.
Theyskens has that essential quality for any fashion designers - a vision - and one that is recognisably his own. The central story is of innocence, or at least a freshness that is pitted discreetly against vulgarity. Could this concept be developed more strongly to make a defining statement?
Simon Porte Jacquemus: Gentle Power
Designer Simon Porte Jacquemus, whose work gets stronger each season, literally filled in the holes that were a symbol of his earlier work.
Now there were waves of fat ruffles down white shirt sleeves - that courtly look being the fashion story of the moment.
On this stage, as if in reference to Marcel Pagnol's original novel of the film, there was a Provençal feel to the clothes and the flat straw hats.
Twin the headgear with a lacy white nightdress garment (but one with sharp, wide shoulders) and the look was from an earlier century.
But the upturned 'V' silhouette that shaped the collection was dynamic and in tune with other thoughtful designers this season.
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