From Chanel’s dreamy Mediterranean inspired collection to Rami Kadi’s ode to free spirit, Armani Privé oriental visions and Givenchy’s ‘Bleached Canvas’ collection, here are our highlights from day two of Paris Couture Week
Chanel - It was a rare snowy day in Paris and guests to the Chanel Spring/Summer Haute Couture show rushed inside the Grand Palais. The scene inside couldn’t have been more in contrast to the wintry scene outside: A vast Mediterranean garden complete with palm trees and a pool of water surrounded an Italian home. Welcome to the Villa Chanel, a setting illustrating Lagerfeld’s love of the 18th century. The artistic themes of the century are encapsulated into CHANEL’s Spring/Summer 2019 collection in the form of bouquets of pastel pink, green and dreamy sky blue, lots of embroidery, feathers and majestic gold and silver. “It’s a serene, ideal, timeless collection, that’s absolutely now, with new shapes," said Karl Lagerfeld in a statement. Of note was this season’s Chanel bride, the Italian model Vittoria Ceretti, who walked the grounds of Lagerfeld’s villa strutting an embellished silver swimsuit and long white veil. To much surprise, Lagerfeld did not make his usual final appearance due to fatigue.
Alexis Mabille - Alexis Mabille a collection that the designer called Rainbow Splash radiated dresses coloured in fuchsia, turquoise and lipstick pink, anchored in plenty of black pieces. There was lots of lace, satin and silky ensembles referencing a mood that was all at once mature and playful.
Rami Kandi - Lebanese designer Rami Kadi’s "Éternité Éphémère" or “ephemeral eternity” was all about honouring one’s free spirit. A psychedelic range of looks in playful and holographic combinations, radiating iridescent beams with hypnotizing colours, was at once bold, sensual and very reflective of today’s times.
Givenchy - After Claire Waight Keller’s second show for Givenchy in July celebrating its founder’s enduring legacy, this time the designer aptly named the brand’s Spring/Summer collection “Bleached Canvas.” The invite to the show was in the form of a white journal with blank pages. The new chapter of Givenchy is now being written. “By invoking tabula rasa through simple gestures, a new language is written,” stated the first line of the description on each seat. Set within the stark white hallways of the Musée d'Art moderne de la Ville de Paris, a most magical and ethereal presentation of weightless architectural shapes coloured in hues of ultraviolet, cobalt blue, vermillion red and white and black ensued. A collection riddled in visceral textures and abstract form – here couture is the conduit between art and fashion.
Armani Prive - Dreamy designs that seemed to harken back to the period of French Indochina in a subtle interplay of delicate Chinese lacquer references and Art Deco motifs was found at Armani Privé. In an intimate setting inside the Hôtel d'Évreux on 19 Place Vendôme a collection of 86 looks by the Italian designer boasted elaborate headpieces, sumptuous embroidery on dresses and bodices, three-dimensional geometric shapes with crystal embellishments and a colour palette of bright blue, lacquer red and black and white whisked guests off far away to the enchanted East.
Stephane Rolland - Stephane Rolland’s collection appeared to offer a clear tribute to the Middle Eastern woman, if not simply for the many elaborate turbans that donned each model's head, as well as the designer’s gracious tunic-like gowns, playing up his signature contemporary style. It was also a tribute to the Twenties, a post-war period of great artistic expression. This couldn’t have been more apparent than the selection of the venue: the entrance hall of the Art Deco styled Théâtre des Champs-Elysées. The collection’s unforgettable opening look - a white sheer blouse with feathered cuffs paired with a long coat and large pants complete with a turban and sculptural ring from Rolland’s new jewellery collection, was in honour of the early twentieth-century dancer Isadora Duncan.