by Nathalie Atkinson
More than usual even for fashion folk--or perhaps simply more glaringly, after several seasons of colours--everyone from FASHION editor Ceri Marsh in the front row to the fashion students in the back seems to be wearing black. Or grey. It makes sense: it’s a gloomy, cold and rainy grey day and dark economic days are ahead. At least they match the crinkled grey taffeta drapes and black carpeting that line the runway room.
It’s the first show of the week and while designers usually end their extravagant runway shows with a bride, L'Oreal Fashion Week begins with a showcase of several dozen. Alfred Sung’s White Collection comes out to the strains of a plaintive female soloist, with models emerging from behind Sung’s signature laurel leaf, which conjures memories of early Club Monaco. (Incidentally, Simon Chang, another fashion designer name from the Eighties, showed his collection recently at Montreal Fashion Week; he received the Order of Canada earlier this month.) Sung's first dress is a full fouffy shantung affair. The next is a fouffy tiered gown liked balloon curtains, with sprays of glinting embroideries and the traditional bridal lace-up corset back. The third is a fouffy--well, you get the idea: and they’re all white. Or bone. Or cream. (For better contrast, the white runway might have been covered in pink, red or black.) There are crystals, big bows, boned bustiers, sweetheart necklines, georgettes and chiffon goddess gowns, beaded mermaid dresses with pooling hems, rhinestoned halters, plissé chiffon trains, draped and knotted shantung bodices and sparkling angel tulles. One gown is entirely of lace set with tiny clear sequins, and the finale is a peau de soie stunner with a full veil.
The models are fresh-faced in sheer, minimal makeup and carry tasteful floral orchid, calla lilly, freesia and daisy bouquets (by Fiori); their coif comes from Blair Waldorf’s ingenue signature: a simple satin ribbon tied in a demure side bow. In fact, all these gowns are straight out of Martha Stewart Weddings, designed for the traditional ingenue turned bridekenstein and big traditional wedding. What, nothing for the beach destination wedding, or the second- (or third-) time bride? Even SJP Carrie Bradshaw tried on all manner of designer gowns but in the end tied her Big knot at City Hall wearing a simple suit.
At least I caught a bouquet.
Source
More than usual even for fashion folk--or perhaps simply more glaringly, after several seasons of colours--everyone from FASHION editor Ceri Marsh in the front row to the fashion students in the back seems to be wearing black. Or grey. It makes sense: it’s a gloomy, cold and rainy grey day and dark economic days are ahead. At least they match the crinkled grey taffeta drapes and black carpeting that line the runway room.
It’s the first show of the week and while designers usually end their extravagant runway shows with a bride, L'Oreal Fashion Week begins with a showcase of several dozen. Alfred Sung’s White Collection comes out to the strains of a plaintive female soloist, with models emerging from behind Sung’s signature laurel leaf, which conjures memories of early Club Monaco. (Incidentally, Simon Chang, another fashion designer name from the Eighties, showed his collection recently at Montreal Fashion Week; he received the Order of Canada earlier this month.) Sung's first dress is a full fouffy shantung affair. The next is a fouffy tiered gown liked balloon curtains, with sprays of glinting embroideries and the traditional bridal lace-up corset back. The third is a fouffy--well, you get the idea: and they’re all white. Or bone. Or cream. (For better contrast, the white runway might have been covered in pink, red or black.) There are crystals, big bows, boned bustiers, sweetheart necklines, georgettes and chiffon goddess gowns, beaded mermaid dresses with pooling hems, rhinestoned halters, plissé chiffon trains, draped and knotted shantung bodices and sparkling angel tulles. One gown is entirely of lace set with tiny clear sequins, and the finale is a peau de soie stunner with a full veil.
The models are fresh-faced in sheer, minimal makeup and carry tasteful floral orchid, calla lilly, freesia and daisy bouquets (by Fiori); their coif comes from Blair Waldorf’s ingenue signature: a simple satin ribbon tied in a demure side bow. In fact, all these gowns are straight out of Martha Stewart Weddings, designed for the traditional ingenue turned bridekenstein and big traditional wedding. What, nothing for the beach destination wedding, or the second- (or third-) time bride? Even SJP Carrie Bradshaw tried on all manner of designer gowns but in the end tied her Big knot at City Hall wearing a simple suit.
At least I caught a bouquet.
Source
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