THE SETTING for the Chanel autumn/winter show in the Grand Palais yesterday was a huge burnished carousel in which blown-up versions of familiar Chanel icons such as the tweed jacket, the quilted bag and interlocking CCs replaced the usual parade horses.
As a piece of staging it was a witty comment on the merry-go-round nature of modern fashion as well as a reference to the centuries-old French origins of the hurdy gurdy.
Even the models displaying the finery seemed to enjoy the fun as they took up their positions on the rotating stage to the disco soundtrack. The collection reworked many well-rehearsed Chanel themes such as cardigan suits in biscuit or Donegal tweeds of varying lengths along with seductive black and white evening wear, but it seemed to lack its usual energy. Longer jackets with flared waists and long tweed skirts with sheer blouses were a token nod to descending hemlines, but ribbed dresses with jewelled apron fronts had a sexier vibe.
What did look modern and different were the clear PVC sheath dresses and jackets with motifs traced in black patent, a clever take on materials normally used for handbags or shoes. For once models were not overly burdened with lavish accessories, but the details that stood out were two-tone stockings, two-tone patent stilettos and jaunty jewelled berets, bound to be readily copied.
The big surprise yesterday was the outstanding collection from Yves St Laurent, where Stefano Pilati seems finally to have come into his own after a lacklustre showing last season. YSL's sales results have been encouraging and the company has just opened a new-look boutique in Paris, to be followed by 61 more worldwide.
Pilati said recently his mood was more bright and open and it showed in this collection which not only epitomised rigorous French chic but was a bravura display of innovative cut and construction. Shaping was everywhere, from the fine wool cutaway jackets, finely layered coats, fulsome circular-cut skirts and dresses, seamed and tucked to make them airy and spacious. The models, with black bobs, black lipstick, black shades and inscrutable expressions, seemed to sum up the collection's severe but assured focus.
