THE city may be Paris, but this season feels like a repeat of London Fashion Week a fortnight ago, as English designers and their shows draw the attention away from French talent.
On Tuesday afternoon, fashion's current favourite, John Galliano, presented his first ready to wear collection for the House of Dior, which celebrates its half century this year. Galliano's clothes had a distinctly retrospective quality, and not Just in the references to the famous broad shouldered and narrow waisted Bar jacket with which Christian Dior launched his New Look in 1947. In fact, Galliano went further back and further east for his inspiration, conjuring up China in the final days of Empire.
The tight collection of just 45 outfits was replete with oriental motifs, from mandarin collars sewn with seed pearls to a westernised version of the Cheongsam, its skirt often shrunk to micro proportions. Fabrics were universally sumptuous, with much use of stretch, silk jacquard, satin crepe and chantilly lace. And the colours were equally glorious; Ming blue, imperial yellow, Celadon green and, for the final 10 pieces, laquer red.
Given the costliness of materials, intricate cutting techniques and elaborate beading and embroidery, these clothes seemed to belong as much to the world of haute couture as the imperial East. By evoking the last Emperor of China, John Galliano managed to confirm his position as the new emperor of French fashion.
Would another Englishman, Alexander McQueen, prove to be his heir apparent? McQueen, whose own name show caused its usual stir in London two weeks ago debuted his ready to wear line for Givenchy yesterday evening.
In keeping with his reputation for shock, the designer brought his audience to a former horse market on the outskirts of the city. Otherwise, however, there were relatively few surprises on offer, although Beatrice Dalle, star of the film Betty Blue, did step out in the finale wearing a black patent strapless knee length dress. Otherwise, McQueen stuck to producing eminently wearable clothes.
Specifically, there were lots of tight fitting pants, single button and close waisted jackets with his signature lapel detail and purple mohair knit dresses and coats. Then too he offered emerald green, snake skin for micro skirts and plenty of leather pieces which had scalloped edges and punched detailing.
By the time he introduced leopardskin, prints, it seemed as though McQueen had more ideas than could be contained within a single collection. A strong first showing, therefore, but the heir lacks the coherence seen at Dior.