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Earlier in the day, an even more undisclosed set of guests awaited the Chanel Grand Palais ephemera for the other big draws of the season finale.
Here are some highlights from Tuesday’s Spring-Summer 2023 collections:
Honey, I zoomed in on the models.
While Nicolas Ghesquière raised the bar with a circus-like set that twisted like theater in the round, his funky designs didn’t disappoint.
This season, the 51-year-old Louis Vuitton designer let his childhood imagination run wild as his theme.
Huge zippers with large monogrammed “Hand”-bags, thin bow collars, clown-like buttons and huge pieces of expressive leather accompanied the film “Honey I Shattered the Children”.
Beyond the obvious gimmicks, there were some masterful looks in the colorful and youthful ensemble, which was a playful, modern take on royal wear.
He blew Elizabeth’s neck — or was it the chokehold of life? — given a sporty update in a loose, fitted dress and black ankle boots. Elsewhere, a Renaissance collar figure playfully travels the body in another hip-level look.
There was method in the madness – the sheer consciousness of the designs lends unity to the collection as a whole.
Ghesquiere perhaps went too far with a series of leather-print puffed zippers, but stand out like the embroidered multicolored apron dress.
Pop icon Janet Jackson looked a model of poise as the cameras rolled around her in Kur Square, the oldest courtyard of the former royal palace.
Jennifer Connelly blew up backstage. Lea Seydoux flaunts her newfound fame — recently added to the front row — with fashion tycoon CEO Bernard Arnault of LVMH and “Dragon House” star Millie Alcock. The Australian actress, who played Princess Raniera as a child, has not lost her sense of humour, lamenting that her character had to grow up and that it was “horrible” to be replaced in a hit role.
There were so many celebrities that some bewildered fashion journalists just sat there, beaten up, with their VIP cheats on their laps.
Such high-octane shows are the norm at Louis Vuitton — which has become the undisputed highlight of Paris’ ready-to-wear finale since Karl Lagerfeld’s death at Chanel. It’s a fascinating book for the entire fashion season that passes through New York, London and Milan, and always in the City of Light.
Paris star designer Virginie Viard in 2010. In the 1980s, he wore a generally simple ensemble in black and white and strummed softly in a seemingly unassuming manner.
There were some minor joys.
A-line minis led the eye to a teasing flash — as did white-grid thigh-high socks. Irina Shayk wore a off-the-shoulder, cap-sleeve marble gown with a plunging neckline. Jersey is created like a scale.
and a polka dot leather dress with a stiff peplum that borrowed from period styles for the house founded in 1910.
But the house has been compared to “collage” so much – sometimes too much – that it was taken over by Viard from the happy Lagerfeld following his death in 2019.
Black-and-white images of the decor, including the empty historic gardens from the 1961 slow-motion film “The Last Year in Marienbad,” didn’t help the mood — but the 71-look set felt lackluster at times.
Still, the accessories provided a welcome wake-up call. Bejeweled clutches, dangling pearl and jewel pendants and gold necklaces dropped down to the bottom created the 80s trends.
Miuccia Prada’s younger sister brand, Miu Miu, offers a pocket-sized collection of anoraks and artisans.
With less daring design features than usual, Prada used anoraks, zippers and toggles to explore the theme of loosening things up and taking things back.
Alabaster coat front zipped open at top and bottom. Dresses had the label on the front as if they were placed on the wrong side. And an ecru shift dress was created to look worn forward.
Later in the 63-look collection, leather designs used the two-pocket fashion associated with artisans with low belts, or randomly dotted the placket.
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