A Runway Transformation

This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.

The New York Sun

PARIS — There were gray storm clouds over Paris today, but nature was honored all the same — with fashion. At the presentation of the Issey Miyake by Naoki Takizawa spring/summer collection, flora and fauna were the central inspiration, though taken into abstract territory. A stunning series of pieces — dresses, skirts, and shirts — were built with solid backgrounds and a layer of jute thread embroidery placed on top to resemble veins on a petal or leaf.

Another series took the idea of the butterfly’s transformation in a playful, yet beautiful direction. About 20 models wearing a variety of styles — short shorts with pillowy tops, monk-like dresses, and signature pleated tunics — took to the runway. But instead of returning backstage, they found space to pose together, like reeds near a stream. One by one, they began adjusting their dresses: removing straps, untying the drawstings, or reversing the fabric. The result was not a striptease but the presentation of some 20 new garments, each one transformed in some way — from short to long, plain to colorful, billowing to sleek.

Evening wear maintained the nature theme; a group of flowing dresses in crinkle fabric, random ties, and asymmetrical hems were dotted with rosettes. The contrast between the traditional and modern, academic and aggressive was just right.

For this show, the models wore flat sandals with manly straps. But the shoe news is that thick wedge high heels are not losing ground for spring. “These hunky shoes are sticking around,” a New York–based fashion stylist, Sarah Ellison, said.

Ms. Ellison styled the look at the Gaspard Yurkievich show Monday. His girlie pieces were short with patent leather and gold metallic wedges.

At Costume National, looks were paired with tall silver wedges that lent an air of futurism. The final frontier was a major theme here. Designer Ennio Capasa sent out a collection that was Space Age, without being cartoonish. Metal straps on the tops of white shiny silk dresses ramped up the sexuality. A shiny metallic silk was used for a series of coats that, though classic in shape, had zip. Belts, both wide and pencil thin, were shown with many looks, and to especially sexy effect with the coats.

The color palette could at first appear limited — white, putty, deep blue, and black. But each one of those colors was shown in subtle gradation or with metallic added to the fabric. The result was a collection that ranged gently from white to silver to gray with deft ease. The color choices and the dynamic forward-thinking style gave this collection a decidedly New York feel.

The fascination with the future has been brewing in fashion, especially in the Milan collections. At Balenciaga, it surfaced gently.

“The tailoring was phenomenal. The concept was robots,” a photographer for Paper magazine, Randy Brooke, said.

“The shapes, the colors, all those metallic leggings!” a professor and journalist, Gladys Perint Palmer, said.

But while Balenciaga’s Nicolas Ghesquiere was looking to the future, Jean Paul Gaultier looked to his past. The first half of his collection included his hits from 30 years in fashion. The second half featured day wear inspired by workout gear — track pants and all.

“His designs appeal to everybody because he designs with a sense of humor,” the editor of Canada’s Flare magazine, Lisa Tant, said. “It’s fun.”


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