Courtesy: vogue.com
Gone are the days with a standard runway in a standard white room. Unless a minimalist theme is called for, the top fashion houses are now participating in what seems to be a competition for the most awe-worthy productions.
Last week marked the ever-exciting Paris Fashion Week, in which designers showed their Spring/Summer 2015 Haute Couture collections.
At Dior, the scene consisted of what resembled a glamorous construction site. The giant show space was filled with a mirrored steel scaffolding set.
Chanel, not to be outdone, hosted their show at Paris’ Grand Palais. The historic building featured an open, windowed ceiling and elaborate crown molding. At the start of the show, hundreds of mechanical flowers bloomed simultaneously at the push of a button. This example gives new meaning to the term fashion “show.”
Fashion houses are not only showing us their collections; they are also asking us to discuss them. They are entertaining us.
It must be stimulating to live in a haute couture world. This category of fashion takes practicality and throws it out of the window. Extremism, magic and shock are all elements implemented and sent down the runways. Part of what makes haute couture so compelling is that it does not sit well with a certain crowd.
Many complain about how “none of it is wearable and it is a waste of money.” On the contrary, it is art that forces one to expand one’s mind and re-think standards previously held.
On Jan. 26, Dior showed a playful set. There were dresses that were very Julia Roberts in “Pretty Woman” (pre-makeover) paired with endless mod boots.
As many times as the past has been re-interpreted, Raf Simmons somehow created a new plastic-retro aesthetic. Sequin detailing was employed sparingly enough that it was obvious its sole purpose was to evoke raw emotion in the viewer.
Perhaps the most talked about look was the space-y, long-sleeved, offbeat, flower-printed jumper that was just daring enough to work. This displayed a notion of stepping outside of the box with something crazy enough just to work.
Karl Lagerfeld outdid himself once more at Chanel with a collection that materialized and personified a trippy utopia, where models were flowers freshly picked from the most chic of gardens. Just when we all thought that the tweed suit could not possibly be re-worked and updated once more, it was.
The limits were pushed as the suit exposed the midriff and skimmed the upper leg with a certain mischievous grace. The composition of the collection, too, couldn’t be overlooked. A riveting combination of materials was implemented to create intricate visions, varying from dainty florals to looks dripping with alluring darkness.
If his Spring/Summer 2015 Haute Couture collection is any indication, Jean Paul Gaultier is a rejuvenated man after permanently retiring his ready-to-wear line last season. His work was thrilling as usual; however, it is apparent that the extra focus on haute couture has not gone to waste.
The collection was surprisingly wearable. Gaultier has more or less built a collection that could supply a woman with a dream wardrobe for many years. There was a sense of the early 2000s in some looks, such as a dove blue strapless satin dress with a low-slung waistline made of denim. Naomi Campbell was the icing on this cake. She displayed the final look, a transparent, dark green number punctuated with orchids.
Take advantage of what these shows have to offer. It is not fashion we are talking about here but something much more. Growth ceases the moment we quit challenging our way of thinking.
Forget dressing to blend in and to be practical. Step outside of the box and see what happens. When you break monotony, you might learn something about yourself. Adopt a new purpose: to entertain.
For fashion industry updates and advice follow Alex Presley on Instagram and Twitter at @alexspres.
