(Edited from AP, Paris) A circus vibe permeated the Givenchy show last month, two of Paris’ spring-summer 2010 haute couture displays. But Givenchy’s was the kind of circus where the tightrope walkers perform without a rope and the lion tamer regularly gets eaten. Let’s see what is the new trend in fashion industry?

(Edited from AP, Paris) A circus vibe permeated the Givenchy show last month, two of Paris’ spring-summer 2010 haute couture displays. But Givenchy’s was the kind of circus where the tightrope walkers perform without a rope and the lion tamer regularly gets eaten. Let’s see what is the new trend in fashion industry?

 

CHANEL

Chanel was basking in a luminous pastel glow.

Models in buttery yellow culotte suits, fancy plissed tank dresses in baby blue silk and frothy pink gowns minced down the catwalk on boots with silver rococo heels and pearl-studded soles.

Lagerfeld called working without black a “challenge” but said the idea for the color-soaked show came in “electronic flashes I get in my head.”

 

Some of the looks had a dreamlike quality. An off-the-shoulder bubble dress awash in tiny silk ruffles evoked sea foam, or a cloud. The wedding dress which traditionally closes haute couture displays had silver sequin-covered sleeves and a fluffy train in marshmallow pink. Little blobs of silver, like liquid mercury, dotted the seams of the peaked-shouldered jackets, which were paired with high-waisted culottes.

 

GIVENCHY

Looks that deserved a spot on the center ring in Tisci’s dangerous big top were the column skirt covered in minute emerald beads and a sheer silk top and a pantsuit and cropped jacket in electric blue beads that looked made for the world’s chicest lion tamer.

The show, which had been edited down to just 22 looks, had plenty of the kinds of organza and sequin concoctions that in the hands most other designers would have come off as fluffy or, at best, pretty. But Tisci is able to imbue even the daintiest and sweetest of looks with a subversive edge that makes you take one look at the ingenue sporting his powder pink silk cocktail number and feel the need to check whether she’s wielding a knife behind her back.

 

STEPHANE ROLLAND

Since launching his signature label in 2007, Rolland has wowed critics with his sculptural gowns that bulge with bustles and capes and minidresses embellished with painstaking geometric mosaics.

But this season, Rolland took the shards of plexiglass he uses for the mosaics and flipped them 90 degrees, so they stuck up from the fabric’s surface in stiff ridges. Aligned one alongside another, they formed astonishing volumes, and looked like stiff Elizabethan lace collars, oversized ivory bangles, or the fossilized, half-buried remains of spiny dinosaurs.

 

WORTH

Designer Bedin said he rifled through the archive, taking his inspiration for the capsule collection from the garmants the house’s founder designed for 19th century European royalty.

“Worth focused on the bust, so that was where we started, with these constructed bodices to create a tiny waist,”the 35-year-old Italian designer told The AP at the presentation.

Truth be told, there was little but bust to the eight minuscule concoctions of dainty lace, ribbons and tulle. Measuring just 25 inches (65 centimeters) from to top to bottom, they looked more like tutus than proper dresses, and it was hard to imagine anyone but a ballerina daring to shimmy into one.

 

ERIC TIBUSCH

The emerging French designer shot into orbit with a Space Age collection of Saturnian ringed leotards, asymmetrical gowns with towering shoulders and cocktail dresses that looked like the uniforms of space stewardesses.

And as if the boldly imaginative collection were lacking in strangeness, Tibusch upped the weirdness factor by embroidering on chips of burned wood and dead flowers and covering a leotard covered with mini chocolate bars.

 

BASIL SODA

The Beirut native once worked under Elie Saab, and it’s easy to see the imprint Hollywood’s favorite Lebanese designer left on his work: Like Saab, Soda also turns out ravishing red carpet-ready gowns, heavy with fancy beadwork.

But his spring-summer collection, had a hard, rock-princess edge. Some of the looks, with peaked shoulders and fringes of gold chains and little razor-shaped metal appliques, felt like what Balmain would do if the Paris-based label ever brought hemlines down below the upper thigh.

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