Our review will be posted shortly. See the complete collection by clicking the image at left.

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Ballerinas for Bonbon. Viktor Horsting and Rolf Snoeren are launching a new perfume. The ad campaign for Bonbon was projected onto the backdrop at the end of their show tonight; it stars a seated Edita Vilkeviciute, her naked body painted in pink bows the same color and shape as the fragrance bottle, which sits perched on her lap.

In a sweet little piece of cross-promotion, the designers cast members of the Dutch National Ballet as models, dressing them in leotard-tight dresses in nude shades of latex that looked remarkably like real skin, some of which were hand-painted with trompe l'oeil tattoos of ruffles, birds, or those bows. In a week when Schiaparelli was back on the Couture calendar after sixty-odd years, Horsting and Snoeren were the ones to embrace surrealism, draping folds of latex from tattooed bird's beaks and bows. One short-sleeve asymmetric-hem dress looked like a high-cut bodysuit with a skirt slung over just one hip, leaving the other exposed. What was rubber and what was flesh? You couldn't tell. It was the kind of head game that the Dutch duo has always loved.

In recent years, the received wisdom on Couture was that it was basically just a promotional device for a brand's perfumes. Viktor & Rolf proved the clichй true. Our guess is they got some perverse pleasure out of that.
Nicole Phelps

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Our review will be posted shortly. See the complete collection by clicking the image at left.

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Goddesses are trending at the couture shows. Yesterday Donatella Versace conjured glam ones in crystals and acid hues of orange, green, and purple. Tonight, Alexis Mabille tried to bring the goddesses of Greco-Roman statuary to life. If he didn't make as good a go of it as Lady D, first to blame are the paper butterflies that multiplied in the models' hair and occasionally alighted on their noses. Second are the shoulder-duster rhinestone earrings. Mabille needs to learn to simplify. The exemplary fit of his classically constructed gowns would make a bigger impact if it weren't mucked up by all the extras. We clocked several beauties in this show, from a pair of silk crepe columns draped from halter "necklaces," with the effortless appeal of a toga or a sarong, to a more rigorous bustier dress, lace appliquйs decorating the hips. A body-limning Chantilly lace number stitched with crystals will go down as the most convincing case ever for his career-long obsession with bows.

But in other instances, Mabille's gowns were more showgirl than goddess. Where else but onstage would a floor-length sheath with a belly button-exposing teardrop-shaped cutout be called for? Likewise, there was something of the costume department in an exuberantly pleated "Mark Antony" coat worn with beaded tulle leggings. If the model hadn't been clutching it to her breast, she might have fallen backward from its weight. There'd be no ascending to the heavens in an outfit like that.
Nicole Phelps

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The undulating shapes of Oscar Niemeyer's buildings and bridges made up one of two messages informing Paule Ka's tightly edited Pre-Fall collection. A young Marianne Faithfull was the other. This overlap of architecture and ingenue was best expressed with short A-line dresses broken up by lace inserts in shades of chartreuse, robin's-egg blue, and lilac. The most dynamic paired the lilac with poppy-red stretch wool. The lace was best left unlayered; otherwise things turned too dainty to maintain any relation to the aforementioned inspirations. Elsewhere, a twisted duchesse satin cummerbund belt reined in silhouettes and impressed more than a conventional belt (that same satin detail also appeared as a decorative band across the instep of a heel). Spider mesh extended wool miniskirt hemlines by an extra inch, even though they revealed the same amount of leg. Pants were notable only insofar as how unimportant a role they played; Faithfull started off a skirt girl, anyway. Outerwear integrated plush panes of rabbit, fox, and curly lambostensibly to ensure that the lace never ends up feeling too drafty.
Alex Veblen

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The art-fashion frisson that continues to seduce so many designers of both menswear and womenswear struck Jay Ahr's Jonathan Riss from a different angle for Pre-Fall. Forget all the MoMA-worthy auction bait; he had his sights set on the purity of African patterning and ornamentation, and used working zippers as his primary medium. If this link wasn't immediately apparent upon glimpsing his come-hither dresses, it was compelling enough in his mind's eye to yield a collection that revealed his technical strengths. Basically, the zippers could be manipulated at various points along the garments to vary the degree of exposed skin or modify silhouettes. Riss seemed to delight in determining when to include a two-way zipper, where to position the openings, and how to use them for optimum contour definition. In his demonstrations, some were more intuitive than others. Still, they added functional decoration to his LBDs and flouncy skirts, and this made him proudest of all. He also seemed pleased with his latest fabric innovations: an embossed faux leather patterned in squares like a chocolate bar, a technical woven material that evoked an African textile, and a funky red-shaded faux fur that was less imitation mink than extra-large layer.

Riss is well aware that his trompe l'oeil dresses (a one-piece blouse-skirt combination) have become his signature, and so, in addition to the zippered styles, he introduced a slightly longer length as well as a version embellished in micro-metal rings. This dimensional pattern also played out on an unstructured shirtdress that was roomier than usual for Jay Ahr. It also happened to be as sexy as any of Riss' slinky creationsand affords him new room to play around for the season to come.
Alex Veblen

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"They're bad characters. They've got morning-after hair, and they've thrown on their haute couture to run around in the next day." Giambattista Valli painted a vivid picture of his muse backstage before his show. When he landed on the couture schedule six seasons ago, he didn't so much set out to rewrite the rules as he did to inject the made-to-measure world's rarefied confines with a young energy, aided and abetted along the way by his photogenic front row of international jet-setters. Rarely, though, has Valli's magnificent obsession with youth been more apparent than it was tonight, with his emphasis on a short, supremely leggy silhouette and what he called a "spontaneous attitude."

He built his party outfits on a fitted miniskirt base, sometimes swagging rolls of duchesse satin around the hips on top of that mini, and other times layering a short-in-front, long-in-back kicky pleated skirt with a splice up the middle over the top. Above that it could be a cropped top in a silk cloque with a grosgrain-ribbon hem, or a sleeveless silk shell embroidered in iridescent blue three-dimensional floral appliquйs. Valli's fabrics and embellishments tended toward the dense and heavy, the polar opposite of Raf Simons' work at Dior today. By the same token, the color palette (especially that vivid blue and pink on black) and the voluminous, peplumed shapes owed a noticeable debt to Simons' debut at Dior circa July 2012.

Simons is leading the fashion conversation at the moment; it's probably all too easy to get swept up in it. But Valli is a runway veteran, with plenty of his own things to say about layering print and texture. They resonated most clearly in Joan Smalls' appliquйd floral-print dress with a matching crop top worn over it, and again on an Yves Klein blue thigh-slit ball gown topped by an abbreviated black bugle-bead embroidered tank. That look was youthful in a way that was entirely Valli's own.
Nicole Phelps

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Putting poppies and spacecrafts in the same collection would not be anyone's idea of obvious. As the two main motifs in Alexis Martial's second outing for Iceberg, they represented diametrically opposite ways to explore seventies tropes: one, feminine and free-spirited; the other, retro modern. The real story, however, took shape in Martial's unconventional way of recombining classics. His skirts, for instance, were an asymmetric merger of handkerchief and accordion pleat. His turtleneck knits were capped with a quilted yoke. Trimmed in fox fur or offered in nylon, his extra-long zip hoodies assumed new responsibility as outerwear.

Despite his best intentions, the designer didn't always make a splash. His near-obsessive use of neoprene felt fresh when double-faced with knit; formed into a blazer, the material remained more constricting than a space suit. Multicolored python belts, glossy patent plackets, and Rainbow Brite shearling collars made clear that Martial can think like a stylist. But the spaceship appliquйs took a wrong turn along the way from young boy's universe into high-fashion space. He need not try so hard to convince us that he can navigate contemporary Italian terra firma. The simply striped ski sweaters and salt-and-pepper tweeds seemed to make this point cleanly and without compromise.
Alex Veblen

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Our review will be posted shortly. See the complete collection by clicking the image at left.

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A more all-inclusive Balmain. That was the takeaway from Olivier Rousteing's Pre-Fall collection. Not only in terms of dollar signsalthough he is adding cotton sportswear separates to the lineup and making new forays into knitwear to bring the high prices downbut also in terms of whom it's made for and who's buying it. "Sometimes fashion is a bit close-minded," he said at his showroom. "I'm black, and I want to push [the idea] that Balmain is for different cultures, different ethnicities. It's for all the girls in the world."

To get his message across, Rousteing looked to boundary-crossing photographer Peter Beard, especially the pictures he took of a young Iman in Africa. The collection blended the zebra and leopard prints Rousteing found in the Balmain archives and safari-inspired Saharan jackets with hip-hop chic crop tops and track pants. "That's me, my generation," he said, pointing to the lattermost pieces and alluding to his recent affiliation with Rihanna, who stars in the label's Spring campaign.

The 28-year-old designer has done a lot of growing up over his three years at the helm of Balmain, but he's only really coming into his own now, a point he made literally clear by those track pants. They're borrowed from his men's line, and they're what he wears on a day-to-day basis. "Girls are always asking me what they are in my Instagram pictures," Rousteing reasoned of their inclusion among his women's offerings. Like those pants, the variety of sweaters here proved he has a real affinity for everyday cool.

But of course, Balmain wouldn't be Balmain without party clothes. The designer, who does some nightclubbing of his own, confirmed that Beard's playboying ways also factored into his appreciation of him. Rousteing's freshest idea in this department was a long-sleeved leather tee tied high at the waist above a little minia good fit for a woman like RiRi.
Nicole Phelps

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Our review will be posted shortly. See the complete collection by clicking the image at left.

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Chitose Abe launched Sacai Luck in 2006 as a lingerie collection, and over the years it's evolved into a full-blown line. A handy way to think about the label is as the Miu Miu to her signature brand's Prada. It's less a lower-priced diffusion offering than it is a place for Abe to experiment with more playful looks. Hybrids are her defining preoccupation at Sacai, and they're just as important here, only she's less concerned about creating new silhouettes and more focused on having fun.

A dress was pieced together from flannel tartan and sparkly leopard-spot jacquard; the effect was grunge princess. Elsewhere, Abe tweaked expectations, adding a sporty drawstring waistband to menswear trousers and a lace-trimmed silk slip underneath a pinstriped pencil skirt with a deep slit. A button-down shirt and long, narrow wool skirt was actually a trompe l'oeil dress. Among the lineup's many cool sweaters, a brightly colored, patterned poncho and a patchworked fisherman's knit stood out.

Versatility was built into a lot of the outerwear: The sleeves of a leather biker jacket, for example, zipped off so it could double as a vest. Clever thinking also informed Abe's new shoe collaboration. Her lambswool-lined Vans are sure to be a hit.
Nicole Phelps

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Last July, when they launched their label, Atto's Julien Dossena and Lion Blau demonstrated a light touch with unlikely combinations. It attracted the attention of some important retailers and likely helped Dossena land a creative director gig at Paco Rabanne. Atto's sexy sequined turtlenecks (whoever heard of a sexy turtleneck?) became hot sellers when the collection landed in stores a month or so ago. Their second offeringthe designers have opted to show only twice a year, off-runway during the pre-seasonsis slightly bigger than the first, and filled with new ideas about juxtaposing odd elements. Hard and soft came together on crepe de chine slipdresses bisected with leather panels and on menswear-style trousers cut from a fleecy polyester. Elsewhere, an A-line skirt was spliced with a panel of pleats made from an unexpected technical fabric, while a double-breasted coat and jacket, as haute Parisian as it gets, were cinched with oversize obi belts, West-meets-East style.

Ultimately, though, this collection's pleasures were of the simple sort: Graphic black-and-white color-blocked sweaters in downy angora felt even better than they looked. And a clingy turtleneck dress was printed with the brand's logo, only so big it was completely abstract. In its own way, it was just as attention grabbing as last season's sequins.
Nicole Phelps

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Raf Simons has always been mesmerized by closed, secret worlds. At his own label, it was the youth tribes who coalesce around certain types of music. Since he started designing womenswear, other doors have opened for him. The beauty parlor/spa scenario of his Spring 2012 collection for Jil Sander was the most obvious expression of his wonderment at the world of women and the closed societies they create for themselves. Then came the job at Dior, and, with it, the opportunity to truly decipher the codes of haute couture and its sorority of female artisans: These are clothes that women make, by hand, for other women.

Simons is like a kid in a candy store with couture. Its combination of technique and psychology could have been tailor-made to satisfy his obsessions. So the first thing that struck one about today's show was the lightness, not only in the openness and airiness of the clothes themselves, but also in an attitude that reflected the designer's oft-stated desire to modernize couture. And if that boiled down to something as straightforward as pairing a couture dress with flower-strewn trainers (Simons painted a picture of a woman leaving the red carpet, plucking her shoes out of her bag, and spending the rest of the night in a club), then so be it. "Dior loved movement in his clothes," said Simons, "and I was wondering what would have happened if he'd been in business twenty or thirty years longer, when the sixties happened, when there was a literal movement in society." Wonder no more…the collection that Simons showed today had the free spirit that you imagined he imagined Dior would have brought to couture.

The key to the code was the cutwork. Outfit after outfit was slashed or winkled open to form a lattice that veiled the female form below. Then there were actual overlays, and veils of sheer silk covering polka-dot sheaths. Everything shook or shimmied: "It's not about stillness, not about the couture pose," said Simons. It was also quite sexual, as concealment infused with the peekaboo promise of revelation often is. The sole jewelry was a tiny chain that wrapped the neck and the fingers in a tiny bow. It was another way for Simons to communicate the charged intimacy of couture.

The show was a celebration of the handwith the clothes, obviously, but also with a set that had been laboriously hand-plastered in swooping curves and columns, a bit like Bedrock carved out of lard. The result was an all-white, womblike space, inspired by the work of Valentine Schlegel, a little-known ceramist from the fifties who graduated to making "architectural suggestions" with biomorphic plaster jobs. To Simons, the interior represented "a radical, female gesture." That choice of words alone in the context of couture underscores how this man is the standard-bearer of a transformative sensibility.

And the fact that he is able to imbue his mission with the sweetness and light we saw in today

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Marco Zanini was 15 years old when he first read Elsa Schiaparelli's Shocking Life. A future in haute couture instantly beckoned. "She was punk before punk, Pop before Pop," he rhapsodized at a preview the other day. Now that he bears her mantle, his reaction was predictable: "Unbelievable!" And the stellar turnout today for his debut at SchiaparelliJean Paul Gaultier, Pierpaolo Piccioli, Maria Grazia Chiuri, Elle Macpherson, Carla Bruni-Sarkozy, Ines de la Fressange, Jean-Paul Goudesuggested his enthusiasm had won over his peers.

It's been sixty years since Elsa herself last showed couture (in the interim, she has shuffled off this mortal coil), but Zanini ensured that it might as well have been yesterday with the lineup he presented. He captured Schiaparelli's sense of color and decoration andperhaps most importanther sense of humor, and all without resorting to lobsters or shoe hats or anything overtly Surrealist. And even if today the hair, the makeup, and Stephen Jones' headpieces had a touch of the crazies, they all added to a feeling that Zanini had made himself some twenty-first-century Merveilleuses.

"She was a delicate paradox, the epitome of elegance with a certain taste that wasn't very elegant," Zanini said of Schiap. "She was the first to mix high and low." Dressing both the Duchess of Windsor and Mae West, in other words. In his collection, Zanini honored that instinct with outfits as supremely elegant as a silk chiffon skirt and matching blouse (it took twenty people three weeks to achieve the bouillonй effect on the skirt), and as supremely showgirl as a paillette-encrusted brocade bodysuit under a sheer silk chiffon robe de chambre. He insisted he had to restrain himself: "This is the first one; I didn't want to get drunk with it." He was also acutely aware of the looming trap of camp (those damn lobsters!). Nevertheless, Zanini chocked his nineteen looks with vivid prints, sweeping drama, gorgeous embroidery, and a spectacular party trick, in jackets that reversed from sober black mohair to a froth of white ruffle or a feast of feathers. Gripoix complemented the collection with jewelry as special as a Venus flytrap ring and a vine of glittering ivy that crawled up Kirsten Owen's arm.
Tim Blanks

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Christophe Lemaire is internationalism incarnate. He's always had an eye on fashionmaybe it's more appropriate to say "dress"from a global perspective. He is the rare designer who will say with a straight face, pointing to a flannel T-shirt and matching triple-pleat pants, his so-called daily pajama, "I wouldn't mind if people see a reference to eighties Japan." A walk-through with Lemaire inevitably invokes references to Chinese workwear from the Mao era, Middle Eastern nomads, and Western New Wave musicians.

It's a quality that made him a smart choice for Hermиs, which makes its super-luxury pitch to the perennial traveler. But it's also a quality that can make his namesake line, where he indulges it fully, a bit obscure to shoppers weaned on jeans and T-shirts. (After several years in business, Lemaire finally introduced his own jeans a season or two ago.) For Fall, by his own admission, he moved his collection in a more urban direction. He introduced leather jackets and shetland sweaters to complement his usual yak-wool knits. He didn't compromise on any of his fixations (large, carrot-shaped trousers; loose, draping coats), but by offering more of a foothold to casual observers, he situated his collection in a wider context.

While there were still padded coats inspired by Chinese uniforms, collarless workshirts, and multipleat pants, there was also a great gabardine trenchcoat with a removable wool/cashmere collar; a smart, elongated peacoat; and plenty of denim. If it was urbane, that's because it was inspired by an urban mecca: Lemaire's native Paris. But, he said, "It's another Paris. It's not the bourgeois Paris everyone has in mind." What made his Fall collection rise to new heights was the way the designer found a way to work his favored multicultural references into a more focused perspective on city dressing. Which only fits, given that his other Paris is as international as his imagination. To realize that, you had only to hear him enthusing about the inspiration he took from old Algerian men in Barbиs for a leather vest worn over a longer tailored jacket.
Matthew Schneier

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Hedi Slimane walks into a bar&it sounds like the start of a joke. But it's not a joke for a band like Froth, who went from being an Echo Park combo with 1,528 Facebook likes to the makers of the soundtrack for the Saint Laurent show tonight. God only knows how Slimane found them, but the notion of the designer walking into a bar, hearing a band and bookin' 'em for the Saint Laurent gig has an irresistible Kid-I'm-Gonna-Make-You-a-Star twist.

Froth's Joo-Joo Ashworth graduated from El Segundo High School in 2012. Jeff Fribourg graduated from the same school in 2008. He was designing cover art for local bands, which creates a connection with Raymond Pettibon, the artist whose work Slimane portfolio-ed in his invitation (these invitations, btw, are already fashion collectibles of the highest order). Pettibon used to design the sleeves for his brother's band, the Californian hardcore legends Black Flag.

There is no one who can touch Slimane for this kind of fanboy completism in fashion. He can gloss the garage band-iness of it all with a sophisticated son-et-lumiиre presentation, but his spirit is with the kids who sat on the floor at tonight's show.

He's their Pied Piper. His clothes speak to them. Whose legs will ever be that stovepipe-y again? Still, Slimane is a businessman as well as a designer. Tonight, he broadened his constituency with a collection that sized the tailoring up a notch, Teddy Boy rather than speed-riven punk, drape jackets rather than shrunken bumfreezers. Plus a selection of coats so gorgeous they came from outerwear heaven: digital tweed, micro-leopard print, maxi-houndstooth mohair, a stripey thing, and best of all, a herringbone that sparkled like it had been paved with sequins.

It was a moment to reflect on how Slimane throws you a drape in green Lurex, a jacket in gold lamй leopard, a black leather blazer alive with silver studs, and all of it just fits into his steamroller design ethos. A Froth lyric intoned, "Anything you read is so easy to believe." But critics carp. Clothes speak.
Tim Blanks

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Picture Grace Jones in one of her iconic hoods. That's what Donatella Versace did as she was designing her new Atelier Versace collection. "She left a sign as a strong, powerful woman, a power goddess," Versace said of Jones before the show. "I wanted to embody that." Versace set about her glam salute by combining the body-con silhouettes that are essential to the house DNA with more fluid draping.

Fashion is trending toward easier, more relaxed silhouettes at the moment, and Donatella may be keying into that, but if her designs here were liberated, they were fierce in a way that will be familiar to the label's followers. Take the opening tailleur. The skirt was draped black silk jersey studded with a grid of Swarovski crystals, but the jacket was as structured as a suit of armor, its rhinestone-embroidered hood conjuring Ingrid Bergman as Joan of Arc as much as it did Jones.

As it happens, Azzedine Alaпa, the man who first put Jones in a hooded dress, was watching in the audience tonight. But this collection was all Donatella, with the anatomical seaming on cocktail dresses picked out in stone and outlined in tiny metal chains, and geometric back cutouts flanking a lacing detail that ran up the spine. Graphic tattoo motifs were stitched in crystals onto the sheer tulle of a top worn with a very un-Versace voluminous ball skirt. "Tattoos are a new form of art, a less elitist one that everybody knows," said Donatella of the impulse. Other embellishments were more understated, or if not understated, at least more personal. Donatella certainly relished pointing out the cropped black Perfecto that closed the show. Made from tiny pieces of leather sewn onto georgette, the jacket weighed next to nothing, a feat only a couture atelier could pull off. It was the signal achievement of the collection, and there were certain elements in the crowd that would've liked to see more along those lines.

In the end, though, it will be the flash and bang of slinky red-carpet numbers in acid green, orange, and purple, their corset waists embroidered in glass beads, with bare legs flashing, that will provide the collection's most-tweeted images.
Nicole Phelps

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Our review will be posted shortly. See the complete collection by clicking the image at left.

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The tide has turned. Once upon a time, Sacai's menswear hung on rails in a showroom without much company in the way of visitors. From there, it was a presentation on mannequins to a few early adopters in a nearly silent gallery. Those were the days. Today's live presentation didn't just seem packed because each of the twenty-six models stood facing a mirror, essentially doubling the body count as well as cleverly offering 360-degree views of a collection that often looks different from every angle. It seemed packed because clustered around every model were a handful of editors chanting I want that, I want that, I want that.

The vox pop is not the last word in fashion criticism, of course. But the voice of the crowd registered all the louder because Sacai's Chitose Abe doesn't come to town to explain her menswear. (Based in Tokyo, she reserves her visits to Paris for her women's shows.) She simply builds it, and they come. The guiding principles of a Sacai collection are fairly regular: Custom-developed fabrics, unusual combinations and collisions, and a yen for deconstruction. Here, all the parts were in play, in a collection based on the idea of bringing the inside out. Some reversible pieces were simply styled inside out to display their interior workings. Others were designed to be inside out, like the varsity jackets from which the wool had been cut away to reveal the nylon lining. Some pieces flirted with inside and outside at once, such as the knit biker jacket whose lining dangled down beneath its hem. Others offered different options outside and in, like the Chesterfield whose double-face wool was houndstooth on the outside, striped within.

A skeptic might argue that it's a small slice of the fashion-buying public that's truly interested in anatomizing the finer points of their clothing's innards versus skins. But though the clothes were piled into looks like layer cakesAbe doesn't just give fashion, she gives product, and a lot of itto pick it apart was to find pieces in beautiful materials that wore their inspired weirdness lightly. If anything, this collection included fewer of the mash-ups that Sacai specializes in (wool sweatpants with nylon waistbands, cotton polos ending in drawstring hems, and so on), and more wardrobe staples of a more digestible variety: duffel coats, Chesterfields, suits, and great knitwear in Navajo and Nordic patterns.
Matthew Schneier

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