A certain magic wand seems to have been waved over the Parisian Couture Maisons this season, raised as a sword against a creeping minimalist dragon. Last week’s Spring 2015 Couture catwalks were infused with sugar-coated frous frous, ballerina pink and ball gowns, sweetheart bustiers, elbow-length gloves, endless meters of tulle, satin bows, blooming flowers, lace headpieces and delicate feathers. Thus, get ready to put on your princess airs, wear your sweetest smile and sparkle sans souci.
At Alexis Mabille, Parisian grand soir styles took the form of glamorously draped, monochromatic, luminous satin evening gowns, as well as black sequined floor-scraping ones, while the Cinderella part was gracefully played by a short cocktail dress in light pink and black lace.
Chanel presented a magnificent, youthful, flower-themed collection of light outfits in tonic tones, signature white and black or pastel tweed ensembles, beautiful, ethereal full skirts and strictly cut pencil ones with dropped waists and short crop top-like shirts and jackets. Very remarkable was the intricate patchwork of textures and fabrics, particularly the sequin embroidery, crêpe paper-like floral appliqués, and beadwork, all of which contributed to the poetic aura of Karl’s collection.
Brilliant also was Giambatista Valli’s princess collection of fluffy dresses in tulle and silk with beaded and embroidered detailing. White, black and pink were omnipresent, while romantic, faded wall paper-like florals and satin Houndstooth prints embellished delicate full-skirted and impressively light ball gowns. The excellent styling of the models, like the polka-dotted veil that accompanied the black hairpiece and super elegant high-heeled sandals gave a finishing touch to the infinitely pretty whole.
As for Jean Paul Gaultier, his models revealed the wearer’s inner princess self through a full skirt of tulle that accidentally appeared under an otherwise classic trench coat. There were also half dress/half suit outfits in black and gold satin that played on the designer’s famous signature masculine/feminine codes or even half dress/half business jacket gowns that poked fun at various female roles such working girl vs. midnight temptress both at once and in a single outfit. An ever so Gaultier collection indeed, with all its usual humour and love of paradox, but most of all, with a total mastery of composition.
Elie Saab is accustomed to designing gorgeous princess-inspired ball gowns and this season offered yet another opportunity to admire his extremely luxurious fabrics and glamorous array of Haute Couture techniques that are a constant marvel for the eyes.
Full-skirted ball gowns even made a guest appearance at Stephane Rolland. While building on the house’s typical architectural cuts, which have been reworked and refined through the years, Stephane used crinoline shapes and silk gauze embroidered with gypsophile, latex or lacquered lace on modern tops, skirts, dresses and jumpsuits, for a very contemporary version of a fairytale princess, indeed.
Last but not least, Georges Hobeika’s princess had a curious Audrey Hepburn charm, and carried with it a certain alluring nostalgia for the 1950s and their pastel hues, Peter Pan collars, bow belts or retro, matching shoes.