Debut of Decadence
MANILA, Philippines - Paris on an ordinary week can leave anyone breathless. But on Fashion Week, Paris is easily one of the most exciting places in the world. Out on the streets, fashion editors, models and just about all the celebrity A-listers run about from one show to the next or head out to the most chic restaurants, cafes and bars around.
But more than the varied share of fashion eye candy that seem to randomly fill every corner of the city, there are the much anticipated shows — hour on the hour — that are carefully crafted to define the mood, temperament and essence of the upcoming season in fashion. In more ways than one, the fashion world gathers in this French capital in great anticipation over what the future in style brings — or in most cases, brings back.
Such was the case for Louis Vuitton’s Autumn/Winter 2010 show which, if anything, paid tribute to the glamour of the ‘50s and early ‘60s and the women who defined the era. Marc Jacobs’ concoction for the season proposed the return to an age that heralded icons such as Audrey Hepburn, Sophia Loren, Suzy Parker and, of course, the bright-eyed, fresh faced Brigitte Bardot who is easily the center of fashion’s fascination for two seasons now.
A retrospective collection, without doubt, the show could have just as well been a reenactment of your quintessential debutante’s soiree. Or better yet, a journey back in time when women still bothered to actually pair their gloves with the proper hat. To drive the point home, the collection could have also been taken purely from snippets of women back then who spent their lives mastering the lessons learnt from etiquette school.
Models circled the Louvre’s Carre Cour fountain in full-circle skirts which immediately recalled Christian Dior’s New Look from — of course — the ‘50s. Wasp waists, corset tops and coats were complementary to the show’s consistent silhouette, creating a feel that was utterly feminine. Still staying true to its era, the collection also utilized a variety of fabrics — wool, organza, jacquard and leather among others — which gave a lush and highly texturized feel to the collection. Looking back in fashion history, the ‘50s was also a time when new fabrics were being introduced in the industry. Perhaps, in this respect, Jacobs had done more than just create an aesthetic reference in this collection.
It was, similarly, through the minute details that we see the classical Louis Vuitton approach towards luxury fashion. Cable knits mixed with intricate metallic embellishments, lace overlays on sweetheart necklines, fox fur, satin trimmings and voluminous gathered hems were but few of the little elements that, when put together as cleverly as Jacobs had managed, evokes images that remind us of what our Sunday’s best should essentially resemble.
Accessories were, as in true Marc Jacobs form, crucial in the collection as this had only further verified the attitude that his collection proposes. There were leather gloves that were cliché as it was refreshingly elegant. Pumps with ribbon details, the iconic Louis Vuitton Speedy which had been recreated using sequins, guipure lace, dutchess satin and handpainted crocodile made for the most apt finishing touch.
What we love about fashion shows is the promise of new propositions and the commencement of the season ahead. Louis Vuitton’s Autumn/Winter 2010 show did more than that and reminded a now somber and pragmatic fashion environment of the grandeur and sweet nostalgia that once again inspires the style scene.
