PARIS — Get ready for changes. That was the word at Première Vision Pluriel, where designers got their first glimpse of the new dark and lovely direction for fall 2007.
The Dark Side
The look at last week’s Première Vision Pluriel was not unlike that at parts of the Balenciaga exhibit on display at the Louvre’s Musée de la Textile et la Mode. Indeed, the color palette at PV was extremely dark, while most textures were very heavy, too. “I was a bit worried at first,” admitted designer Tracy Reese. “But as time went on, I accepted the edginess. It will be hard to incorporate this feel into my line — I’m not exactly known for it. Let’s just say it will be an exciting challenge.”
While some visitors expressed a sentiment similar to Reese’s, most, still, were excited about the overall new direction the show signaled — one that was refined, sophisticated and many believe will have greater longevity. Although the heavy decoration and ornamentation that was evident in fall seasons past was lacking for fall 2007, it was difficult to miss the abundance of structured looks for the season. “There is definitely no room for faux pas with these colors or these fabrics,” said Hervé Pierre, creative director of Carolina Herrera. “Everything is very clean.”
So, black is black, right? Non. Hints of darkened colors were seen in many black fabrics, making the shades part of the new blacks. Gray reemerged as an important tone as well, and metallics continued, too — this time mixed heavily with black, of course. Exhibiting mills showed variations on the trend. At Mantero, a silk-blended jacquard featured a tonal black pattern, which was done in a chenille yarn on a slightly chintzed base. An important look at Linton Tweeds, meanwhile, was a shiny, dark navy tape yarn on top of a dark brown base. And a Balenciaga-inspired matelassé at Clerici Tessuto featured a tonal black damask pattern.
When it came to the textures, many motifs matched the somber palette with serious, clean cloths. A slightly technical feel was also evident, especially in coated fabrics that were finished with dry or wax-like hands. Even Tia Cibani, creative director of Ports 1961 — a line known for its organic and broken-in aesthetic — was looking for a cleaner approach. “The wools are dense and crisp, a look I feel is very modern right now,” Cibani offered. “Technical finishes on natural fabrics are very strong, and I like all the lacquers on silk.”
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Compact, felted, double-faced and dry cloths were also seen across the board. At Jackytex, for instance, a cashmere jersey appeared beefy, while at Picchi, a wool and nylon blend felt compact and sturdy. On the technical side, Sarti featured a nylon knit that looked like leather, and Jakob Schlaepfer mixed heavy with light by gluing a shiny black foil onto couture-quality silk tulle for a space-age effect.
Some designers, though, questioned the saleability of clothes made of such heavy fabrics. “There is definitely a disconnect because all the stores are asking for the opposite,” said Proenza Schouler’s Lazaro Hernandez. He was shopping the show for the first time without his partner Jack McCollough, who couldn’t travel because he recently broke his leg. “We love creating things with volume, so it’s what looks right to us now, but it’s not exactly practical.”
Practicality aside, many designers stressed that the look was nevertheless very chic. “Moving forward, I think the feel will be less crafty and more about finishes,” said Alexander Wang, fresh off a strong spring show that was his first full collection since starting his line two years ago. “The fabric itself, the way it’s constructed, will be the focus. Essentially, the fabric will make the garment what it is.”
The Lace Is On
Gone are the days when lace was relegated to the spring and summer seasons. At PV, it was more apparent than ever that the fabric is key for cold-weather months, too. Heavier guipure versions were prominent at the show, as were textured laces embroidered with insulated threads. At Lucien Noyon, for instance, one version was threaded with chenille for a woolly effect, while Solstiss introduced a silk and cashmere-embroidered style. “There’s a demand for natural, luxurious fabrics that are soft to the touch,” said Corinne Bauvin, director of color at Solstiss. The history of the brand and its many patterns are featured in a new book called “Solstiss, The Seduction of Lace.” Written by Anne Kraatz and published by Assouline, the book will be internationally released on Nov. 4. (It was celebrated on Thursday with a party at Baccarat’s Paris headquarters.)
Sturdier beads and unusual ornamentation were also leading trends at the fair. What looked like pearly beads on Sophie Hallette’s silicon-painted lace, for example, actually felt rubbery to the touch. “It’s supposed to surprise the senses with a kind of amphibious feel,” said Maud Lescroart, communications director for the brand. Similarly, Darquer’s weblike Chantilly lace was embroidered with glittering resin thread, resulting in a slightly crackled motif. And at Alphalace, general director Lionel Mongo said one of the brand’s most popular designs for the season is a Chantilly version embroidered with oxidized beads. “It looks slightly aged,” he said, “as if it’s been lifted out of the archives.”