First up, let's talk about the holy trinity of British female designers that always get everyone talking at PFW. I'm referring, of course, to Stella McCartney, Phoebe Philo of Céline, and Hannah MacGibbon of Chloé. Last season they produced the collections that underpinned the minimalist movement, championing a sleek, pared-down and beautiful silhouette of exquisite tailoring and seriously lustworthy accessories. Céline's envelope bag is probably the most touted of the moment, and Stella's kitten heels made even the most-dedicated killer heel-wearer step down a notch. So I waited with bated breath to see what these three ladies had in store for SS'11.
Céline was the first I saw of the three and - I won't lie - I was a little disappointed. Such an exquisite AW'10 collection was admittedly always going to be difficult to follow, and unfortunately it did not measure up to its predecessor. There were certainly some beautiful looks, such as a gorgeous navy dress with pockets and a deep V-neck, but much of it just didn't excite me. A look consisting of a long-sleeved pale lime green top paired with white trousers and punctuated with a red belt seemed, frankly, a little dated. This wasn't the only colour combination that didn't work for me: an orange tunic paired with wide-legged white trousers, and several looks of bright sky blue set against deep burgundy, just didn't ring true, while the bold, geometric patterns that crept in later on even made me recoil in disgust. Perhaps it's just me, but it seemed that Philo crumbled under the pressure to produce a collection as brilliant as her last one, which is a real shame.
Fortunately, however, the other two parts of the trinity were not so disappointing. Stella McCartney can always be relied upon to produce wonderful tailoring that is extraordinary in its simplicity. She didn't veer too far from her signature aesthetic, and why should she? She knows what works. Lovely cream trouser suits were excellently cut, and floor-sweeping dresses in white, black and cornflower blue, were just gorgeous. I wasn't entirely sold on the photographic orange & lemons print that appeared towards the end, but then again, I didn't hate it, so I'm prepared for it to grow on me. And then there was Chloé (above). After Céline, I came to view this show with some trepidation. But I need not have worried. She didn't try to do another collection in the same vein as AW'10 (which is perhaps where Philo fell down), but branched into a new direction, with a distinct ballet theme. Models wore ballet slippers with ribbons snaking up their legs, and strode down the catwalk in a variety of beautiful looks. Pleated chiffon was the star of the show, and a fine choice of fabric in my opinion. Semi-sheer skirts were worn with simple tees and perfect white shirts. In an homage to the ballet theme, leotard-esque slim long-sleeved tops were paired with full, floaty skirts and 70s-style trousers. But the most beautiful pieces were the dresses: exquisite Grecian-style floaty columns of delicious chiffon, in lovely soft shades of chocolate brown, purply-grey and taupe - they were just crying out for a red carpet.
Another collection that stood out for me was Valentino (above), because it was just simply beautiful. Lovely little polka dots, lots of frothy chiffon and black lace, adorable short suits and of course the ubiquitous full-length, red carpet-ready gowns made this collection the perfect eveningwear destination. Colours like coral, blush pink, taupe and, of course, Valentino red, fitted the clothes perfectly, and almost certainly pleased a front row that included Alexa Chung and Olivia Palermo.
There are lots of other shows that deserve a mention... Vanessa Bruno (above) stood out to me for a lovely use of colour; where some designers, especially in Milan, have been throwing around brash colours like they're going out of fashion, this show was a lesson in how to make it wearable. Muted prints on relaxed silk tailoring looked young and fresh, and pandered to the cool-girl clientele the label is associated with, and which is epitomised by its face, French It-girl Lou Doillon, who sat front row. Christian Dior also made use of Hawaiian prints, which, coupled with bright red lips and sailor hats, lent something of a wartime feel to the clothes, something I personally found a welcome change from 70s references. Yves Saint Laurent produced a standout collection that harked back to its own vintage, with tux-inspired dresses, lovely colour combos of navy and orange and pieces made entirely from sumptuous caramel-coloured feathers. Alexander McQueen was one of the most hotly-anticipated of Paris fashion week, given that it was the first collection under the helm of Sarah Burton, who took over after McQueen's death in February. She managed to rise wonderfully to the challenge, producing a fitting tribute to the late designer while still carving out a niche for herself, and shifting the focus towards a somewhat lighter, less dramatic aesthetic on which the label will move forward. On a more negative note, I didn't get Louis Vuitton; after disliking Marc Jacobs' own line it perhaps wasn't surprising that I wasn't a fan of this either, but there was just too much colour and drama; ultimately I respected the showmanship, but I just didn't want to wear any of it.
So onto the main attraction, the undeniable star of Paris fashion week: none other than Chanel (above). Always a magnificent, star-studded affair, this show did not disappoint. How I wish I could have seen it live. Fountains galore, pebbles underfoot and three miles of catwalk provided the backdrop for clothes paraded by no less than 90 (!) models - and what clothes they were. After last season, which in some places seemed more about the drama than about the clothes, and which reintroduced that perennial fashion sin the Yeti boot (sorry, but not even Karl Lagerfeld could make me put one of those on my feet), it was distinctly refreshing to see a collection that was above all beautiful and wearable. In a predominantly monochrome colour palette, Lagerfeld stripped back the drama and showed off what the Chanel legacy is all about: beautiful tweed skirt suits and elegant dresses. It wasn't breaking any fashion boundaries, but I for one was supremely glad that Lagerfeld went for style over show. It also produced an absolutely stellar front row turnout, with attendees including Alexa Chung, Caroline Sieber, Elisa Sednaoui, Keira Knightley (where has she been hiding lately?!), Leigh Lezark, Lily Allen, Lou Doillon, Rachel Bilson, Vanessa Paradis and my ultimate style crush of the moment, the gorgeous Clémence Poésy (below).
And just before I go, a final mention must go to The Row (below), Mary-Kate and Ashley Olsen's label, because I simply love them, and their small collection of fifteen impeccable looks just goes to show that sometimes you don't need frills, you don't need outlandish colour and print, you don't even need accessories; if you've got a real eye for style and know how to cut some exquisite tailoring, then that may just be all you need for a timeless and brilliant collection.
Pictures of Chloé, Valentine, Vanessa Bruno, Chanel and The Row: Elleuk.com
Picture of Clémence Poésy: Glamourmagazine.co.uk
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