Boletín Universitario- Mode à Paris

Mode à Paris Fédération Française de la Couture du Prêt-à-Porter des Couturiers and Créateurs de Mode Paris Fashion Week 2014

March 001

Monthly Newsletter

Paris Fash i on We e k / Trends 2014 Fall-Winter For this Paris Fashion Week the emerged trends go from the deconstructed boot, leather, fur, or anything black and white, are also not going anywhere, for further information we have created a simple list of the most interesting trends.

to the working man. But the pants, along with big wool overcoats populating the runways for Fall 2014.

Trends / Haute couture

Color / Pink

It’s not just for spring anymore, no matter the shade, no matter the material . Pink has been everywhere, from Alexander Wang’s scorching fuchsia to the bright pink lining spotted under a Monique Lhuillier mullet dress, to the salmon pink of Opening Ceremony’s coats, and the vibrant pink of Thakoon’s sweaters and prints.

Pattern / The midi skirt

Rebecca Minkoff ’s asymmetrical, Victoria Beckham made her midis sparkle, Suno and Tracy Reese adorned theirs with patterns, and Yigal Azrouel showed his as pencil skirts.

Pattern / Menswear

Jason Wu kicked off the menswear-influence trend last Friday when he put his models in very masculine, structured jackets and wide-legged trousers that nearly billowed as they moved.

Some of this masculine touch is easier to pinpoint on the runway than those subtle variations. Rag & Bone’s collection looked like an all-out tribute Mode à Paris

Stella McCartney / All over prints

All over knits /

One of the most prominent trends for Winter was the comfortingly soft, full look in wool, as seen at Stella McCartney, Haider Ackermann, Sonia Rykiel and Paul Smith Marc Jacobs and Céline. This trend works best in neutral tones.

From Milly’s knit racer dresses to Thakoon’s thick ribbed sweaters, to the knit blanket-like ponchos that cascaded over models’ shoulders at Tommy Hilfiger , knitwear dominated the runways. Most striking was the variety. Sally LaPointe showed thick cashmere-wool turtlenecks and Rebecca Taylor’s sweaters were layered over shirts and under coats. The Row put its models in long sweaters with knit midi skirts, giving the illusion that they had jumped out of bed still wrapped in a toasty bedspread. These were a welcome sight to an audience that has been running across the city in below-freezing temperatures all week.

Aspen Chic / Maison Martin Margiela

XXL coats /

Duvet coats /

An eternal classic, the ¾ length coat cut a longer length this season. The men’s overcoat seen at Dior took on a feminine look at Céline with elegant white buttons and a defined waist, while Lanvin made the piece sing in a full black look. A trend also seen at Miu Miu, Calvin Klein and Costume National.

For Fall/Winter 2014-2015, quilting is no longer just a feature on bags and leather goods.

Worn as a coat, upholstery-style fabric enveloped feminine silhouettes in a cozy cocoon, fashionable protection against sub 32°F temperatures. Junya Watanabe, Kenzo, Chloé.

Aspen chic /

Goldmine /

The Seventies cult argyle sweater has made its big return this season on the Fall/Winter 20142015 runways, updated to suit both the city and the mountain. Louis Vuitton paired the classic piece with a Sixties leather skirt, whilst Maison Martin Margiela cinched it with a skinny belt, and Tommy Hilfiger featured fringe detailing.

Gold took to the spotlight as it cascaded across the Fall/Winter 2014-2015 runways. Making audiences want to hit the dance floor, the gold rush trend was seen at Saint Laurent, Prada, Chloé and Moschino. A trend also seen at Carven, Dolce & Gabbana and Rodarte.

Directory Didier Grumbach / Président Sylvie Zawadzki / General Delegate; Legal, Social and Tax Affairs Laurence Sudre-Monnier / Public Relations Director Jimmy Pihet / Communication Manager Jessica Badillo Franco / Newsletter design Ana Laura Montalvo Malpica / Newsletter design

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A trend also seen at Miu Miu, Saint Laurent and Temperley London.

Second skin /

Shearling made its comeback for Winter 2014 as this season’s must-have piece. The truly wintery trend was shown in cuddly, soft silhouettes, with an ethnic vibe at Burberry or pop feel at Prada.

A trend also seen at Ralph Lauren, Tommy Hilfiger and Anthony Vaccarello.

Optical monochrome /

Black and white went graphic on the runway, as designers presented intricately geometric patterns, Rorschach-style motifs and trompe l’œil effects. The prints of the season created hypnotic images and optical illusions.

Balmain, Bottega Veneta, Dries van Noten.

Poncho /

An iconic piece of folk style, the poncho was a key garment on the Burberry, Etro and Roberto Cavalli runways. Roberto Cavalli presented a sophisticated look in monochrome with a fur hood, whilst at Burberryand Etro they hung nonchalantly over models’ shoulders like a chic blanket.

Sixties prints /

An echo to the arty trend seen on the Spring/Summer 2014 runways, Sixties prints are back for Winter, updated with a modern twist.

Prada and Chloé showed silk dresses entirely in vintage prints, while Valentinochose psychedelic accents for a true Sixties feel, that was nothing if not vibrant. A trend also seen at Jonathan

BURBERRY / Maison Martin Margiela Velvet night /

Capes /

Shimmering, silky velvet was used as never before this season, creating an androgynous pajama-style suit, and Sixties-inspired dresses. On the runway, the fabric brought a soft halo to each piece as it caught the light, for a sensual feel.

Designers Nina Ricci, Tom Ford, Chanel. Etro, Fendi and Emporio Armani.

Whether scarlet, embroidered with pearls or delicate designs, paired with a fur hood, or straight from Grimm’s Fairy Tales, the cape is the outerwear piece of choice for Fall/Winter 2014. It provides an alluring cocoon with echoes of the fairytale trend, seen at Valentino and Dolce & Gabbana and Elie Saab.

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Feline femininity /

Wool /

“This world without leopard…I mean, who would want to be here?” Diana Vreeland famously exclaimed about this eternal symbol of femininity and uninhibited sensuality. Still making fashion roar today, it was found on the runways at Giorgio Armani, Céline and Givenchy.

Rei Kawakubo of Comme des Garçons offered “monsters” (for his concept show) hefts of wool often had a strange serenity as they engulfed the body in different ways, often mimicking in their puffiness the current fashion for down jackets. Occasionally the wool padding retracted to reveal giant, hanging pinstriped jacket sleeves or even a tutu.

Night birds /

The couture touch of ostrich feathers graced ready-to-wear runways this season. Soft and light, the plumes added a touch of refined elegance to each silhouette, floating breezily down the runway, as light as the wings of a bird. Designers: Lanvin, Céline, Alexander McQueen, Emanuel Ungaro, Alberta Ferretti and Marni.

Singing in the rain/

Miu Miu, Balenciaga and Sacai reinvented the rain coat, providing waterproof parkas for winter downpours. With either a Sixties feel, sportswear vibe or covered in fur, this trend will add a touch of magic and excitement to the rain.

Designers, Miu Miu, Balenciaga, Sacai.

A trend also seen at Paul & Joe, T by Alexander Wang and Peter Pilotto.

Sweet Sixties /

Twiggy, Penelope Tree and Jane Birkin were on the minds of designers at Gucci, Saint Laurent, Miu Miu, Valentino and Ralph Lauren and Louis Vuitton this season. Mini-skirts, trapeze dresses, patent Mary-Janes, graphic bobs and pastel colors paid tribute to the baby doll style, presenting a fresh, carefree take on the Swinging Sixties London.

Trends / Fabrics Wool / Shearling More subtle than mink, not to mention cozy, designers such as Ohne Titel, Band of Outsiders, BCBG Max Azria, Yeohlee, and Tommy Hilfiger jumped on the material to line coats and accent collars.Phillip Lim dyed his shearling into bright hues. The trend is just part of the new breed of big toasty coats that are also shaping up to become one of next fall’s staples.

Comme des Garçons / Rei Kawakubo

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O utstanding

on Ru n wa y

Alexander McQueen /

This season Sara Burton expressed all that by casting off the constricting McQueen corsets and putting her models in flat walking boots.

If there was a “Beast” lurking in the forest of Burton’s imaginings, she wasn’t a very predatory or threatening. The workmanship was spellbinding. A cape with a huge hood was magicked up from arctic raccoon, long-haired goat, and organza. Black dresses acquired a midnight garden of white 3-D tulle flowers or crystal stars. And when two figures dressed in the only colors on the runway appeared, audible gasps went up as they passed the audience, who suddenly realized that the capes the girls were wearing weren’t printed, but made entirely from feathers.

Alexander McQueen

Balenciaga /

You wouldn’t have thought that the moment a designer really hits his stride at a house would be best illustrated by a pair of knitting needles. But thanks to Alexander Wang’s myriad inventive ways with knit in his strong Balenciaga fall 2014 collection, that’s the case here.

Wang opened with a trio of great coats, cocoon-shaped, in felted wool, with chunky, industrial-strength zippers running up one sleeve, across the back, and down the other, worn with lean pants with a slight but perceptible kick at the ankle (a recurring look here).

The coats were swathed in beaver, with leather-knitted pouch pockets.

More was to come in a hyperchic duo of a cardigan and cardigan coat—the former green, the latter black—their herringbone patterns bonded to leather-embellished wrung metal grommets, and worn with the legs encased in more of those slim pants or ultralong boots. His wonderful evening finale incorporated the show’s central concept, which was sported the likes of Caroline Trentini and Gisele Bündchen.

Balenciaga

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Burberry Prorsum’ /

Chanel /

The resurgence of the handmade in the age of the digital is gathering force amongst London’s creative thinkers. Nothing illustrates that more succinctly than the collection Christopher Bailey led for Burberry Prorsum (where he’s set to be elevated to CEO) for fall.

“The whole thing is related to Pop Art,” he explained, alluding to Andy Warhol’s early appropriation of mass-market commodities and packaging. Karl saw this as a development from his sensational art-gallery environment created for the spring show. “The Art one was an art supermarket, because art has become a product, no?” he explained during a fitting, reasoning that there was no better way to showcase the Chanel product than in a more literal evocation of a supermarket.

Bailey has no rivals in the way he’s concentrated on applying every possible new technology to communicating Burberry-ness to the globe—live-streaming the mammoth show in Kensington Gardens is the least of it. Last year, the company even used the term “digital luxury” for what they do. But maybe the meaning of luxury is shifting now, toward treasuring soft, warm, and quirky things over the hard, glossy, and tech-y. That’s surely why Bailey chose to get back to a charming sense of the eccentric, arty Britishness which distinguished the beginning of his career.

Cara Delevingne opened the show, romping down Aisle 5 and stopping to appraise products that caught her eye, wearing moth-eaten joggings, a tweedy coat in the curvy volumes of the season (with especially emphatic, rounded sleeves), and trainers borrowed from the sportif Chanel spring couture show Also inspired by the haute couture were the neo-corset midriff insets in the coats and jackets—this time seamed with zippers (“If you eat too much at lunch, you can unzip one or two,” joked Karl)—and the iridescent metallic and cellophane threads and highlights that shimmered like rainbows across the complex tweedy weaves and embroideries. of his career.

Burberry Prorsum’

Chanel

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Carolina Herrera /

Marc Jacobs /

For fall 2014, all those elements were present and accounted for. Print: a graphic pattern of triangles that looked like shards of glass or sailboats depending on the configuration. Sinuous evening: floor length dresses in fire red silk organza, or a silk cady number covered in orange, turquoise, and brown geometric shapes. High society ease: straight, gray plaid pants with a degrade mink sweater, or burnt orange wool pants with a matching coat trimmed with wide panels of sable.

For fall, those pale, paler, palest colors were used for a collection that started out with a reductive hand, stripping everything back to spare, athletic cashmere dresses, finishing low on the leg, and slit to reveal matching paneled and zippered leggings and quilted leather or ostrich flat ankle boots. The Courrèges-ish vibe that look gave off gradually got stronger as the show progressed, to scoop-necked tunics atop banded flared pants, before plunging full on into the season’s growing preoccupation with cozy sweater dressing.

Nevertheless, Herrera is always trying to push the women she dresses ever so slightly further through proportion.

Giambattista Valli /

The silky, ivory-color shag-pile carpet of the Giambattista Valli runway set the tone for a gentle collection that the designer explained was about “a lot of textures, a lot of softness.”

Those seductive and innovative texture treatments included fur given a gleaming, lacquer surface, and graphic butterfly wing or animalier jacquards with the design in a top layer of shaggy mohair that had been combed to create an undefined, shimmering effect. Giant rose prints turned out, on closer inspection, to be woven textiles, whilst a trellis of bugle-bead embroideries, for instance, was used with a shimmering fabric woven from tinsel fronds, and wool lace in a floral motif was given further dimension with appliquéd flowers on top Marc Jacobs

Carolina Herrera

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Giambattista Valli

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Roberto Cavalli

Moschino /

Roberto Cavalli /

Nowhere could the appearance of a McDonald’s reference seem so out of context and therefore appear so strong, than in a country that fetishizes its local cuisine, and where fast food has still largely to infiltrate. And perhaps that’s why, Moschino’s new creative director Jeremy Scott’s first exuberant outing, runway look, and possible social commentary for the Italian label was inspired by the all-American fast food chain. “I worked with the McDonald’s color palette,” said Scott backstage before the show without a hint of irony referring to the red, and yellow colored paper and cardboard that wrap the restaurant’s fries, milkshakes, and Happy Meals (all of which made a transformative appearance as handbags). Despite uniformity being synonymous with fast-food joints, and the reassurance it can offer its customers, Scott’s first foray at Moschino was anything but—a slouchy red fur coat trimmed with yellow, and a silk dress that resembled a restaurant uniform. Smartly, though there was a dedication to some form of conformity too, seen in the label’s ladylike silhouettes; mainly pencil skirts, fitted jackets, and evening coats.

Real flickering flames infused the collection’s dégradé prints and color palette with rich reds and burnt ambers worked on mink coats, collars, and swooping gowns. “Fire is energy,” declared Eva Cavalli backstage, and she was correct; the strong hues soared above the label’s trademark swirling patterns, this season hand-painted with lion-heads and fringed riding crops.

Moschino

Roberto Cavalli

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She was scouted by Marc Ascoli thanks to her disruptive end of year collection, and integrated the Rue du Mail studio. While there, she worked under Martine Sitbon's artistic direction for nearly a year and continuously met riveting personnalities such as French artist Cedric Rivrain.

She was selected in May 2013 to be a finalist in the fashion section of the International Talents Supports Competition. In doing so, she materializes her first true collection and won the YOOX award.

Nelly confesses to be in love with Prada, the simplicity of clothes and the power of symbols. She has her own idea of female femininity and avoid clichés about what is suppose to be sexy or attractive when dressing. We can even say that Nelly is conventional, everything that surrounds her work is different, weird, exclusive and in her own words, “Tacky”.

N ew Talent Ecole de la Chambre Syndicale de la Couture Parisienne

/ Natalie Hoffman

Parisian Nelly Hoffmann is the winner of the yoox.com Award at the 2013 edition of ITS, the competition for fashion design students and young designers, of which yoox.com is Exclusive Online Retail Partner.

Nelly’s irreverent collection of street-style looks featuring Roman-cathedral prints will now be available in over one hundred countries, and for yoox.com she has created an exclusive limited-edition grunge-inspired piece.

Fun and emotional, she never keep just empty words or vague adjectives to describe the ideas that inspire her. Nelly Hoffmann tells you a story, almost a movie, in which are just missing the main characters names to make you understand every single one of her clothes. She knows why and what for she does everything.

Born of German and Belgian parents in 1988, grew up near Paris, Hoffmann began her academic career studying law, yet soon realized her true vocation was fashion. She enrolled at the Ecole de la Chambre Syndicale de la Couture Parisienne and graduated in 2012. a crucial year during which she was influenced by truly authentic characters: designer Jens Laugesen, Balenciaga’s Atelier head Bruno Barbier, as well as Jean Colonna, Celine Toledano and Stéphane Warnier.

Explaining her collection for Yoox.com Nelly said: First of all I have to say that wasn’t the collection that I made for my mayor in fashion.

I made once piece when I was working in the studio “Rue du Mail” and was selected because the picture of that piece and the draws of another seven pieces. When they told me that was selected I understand that I have two months to do it in home.

I was in trouble because i don’t have

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anything, not even a sewing machine. Find some enterprises in Paris who help me solve my problems. Glasman give me an industrial sewing machine. MPL and Poulain (Leather manufacturers) give me all I need, without their help I couldn’t do it.

I made my collection for ITS with more or less thousand euros and in two months.

Have to admit that I have terrible nightmares . My home was full of things everywhere and it was really dangerous, (almost impossible) walk in the floor. My friends and parents help me a lot.

For example, my friend Angelique stay to sleep in my house all that time, only to help.

I know how important was that help to me and I don't know how to thank them. My best friend was my model and the photographer and make up artist, were my friends also. At the end, I have precious memories of that time, but to me were like The collection that I made, is about a gang that burst in to a church and rifle their symbols, fabrics and decoration to made their own armors of protection, to wrap themselves in a powerful aura and like that survive and reign the cityscape. I made a research of looks, like hip-hop symbols like Run DMC and Booba (they are the kings of the street in their own personal crusade). I spend a lot of time in Rome with my boyfriend and became a little bit mystique.

An artist like that could select another artistic way to express herself.

However, and for our luck she choose fashion.

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Dries Van Noten has brought together elements which point to other sources of inspiration, such as the Renaissance ‘chambers of wonder’ or ‘curiosity cabinets’ in which collectors amassed memorabilia and souvenirs. He has selected anonymous 19thcentury pieces and works by emblematic couturiers such as Elsa Schiaparelli and Christian Dior ans 1980s designers, to evoke intimate subject matters such as youth, the archetype, ambiguity and passion, while highlighting his ‘signature’ themes.

Fashion Spac e Musée des Arts Décoratifs

/ Dries Van Noten

The work of the belgian fashion designer, Dries Van Noten, is featured at the musée des Arts décoratifs in Paris. This is the very first exhibition devoted to the artist’s work.

This event is an eye opening experience, where Dries Van Noten’s men’s and women’s collections are put together with iconic pieces from the museum’s fashion and textile collection. The show also includes photographs and videos, film clips, musical references, as well as artworks by renowned artists, from public and private collections, that have triggered the designer’s imagination throughout his life and career.

The exhibition is just that—a unique and revelatory exploration of what makes a designer of the caliber of Dries Van Noten tick; the images, movies, artworks (historic and ultramodern), and clothing (antique and ethnic) that inspire, provoke, and stimulate his creativity. Dries is adamant that this is not intended as a retrospective, although it is certainly an opportunity to study his remarkable body of work through the decades, and explore the themes and threads that unite his timeless designs. These include his enduring passions for flowers, India, China, toreadors, dandies, punk, contemporary art, dance, and uniforms among many other themes.

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Dries Van Noten

and others, presented against a dynamic colla ged backdrop of eclectic images of the period that include Klaus Nomi, Sex Pistols, and Divine posters, a John Travolta pin-up, and the Diana Vreeland Interview cover. Dries also recently found, serendipitously, some soft, hippie spirit dresses and an enduringly chic starburst appliquĂŠ coat from his time at the Academy.

The show opens with a bang with clothing from the designers who inspired Dries and his contemporaries when they were students at the fabled Antwerp Royal Academy in the late seventies and the turn of the early eighties, with stellar pieces from the debut collections of Claude Montana, Thierry Mugler, Gianni Versace, Vivienne Westwood, Jean Paul Gaultier,

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