Saab worked with strong, monochrome colors: royal blue, turquoise, raspberry pink. Most of them appeared in a bold abstract print used for a passage of floaty chiffon dresses. The dresses were a change of pace for Saab and not a bad one, even though most of Paris has moved on from the digital print craze.
The women on Slimane’s catwalk looked like the witchy covens who’d surround rock groups in the sixties/seventies heyday of the Strip. Or maybe even earlier, when the artist Cameron seduced the stalwarts of the Ferus Gallery. The floor-sweeping, full-sleeve dresses had the deeply gothic tinge that is peculiar to L.A. With the models’ faces uniformly shaded by wide-brimmed hats, it seemed that witchy seduction was the agenda of the evening.
Deconstructed Classicism was the theme. “It was really looking at the classics. How to define them, inside and out.” said Elbaz. You could see where he was coming from at the outset: the twin lodestars of Parisian chic, the tuxedo pantsuit and the little black dress, but deconstructed in an effortless sequence of variations. These looks came charged with a certain kind of offhand sexuality—the hair swept to one side, every girl walking fast and furious, self-possessed and very much herself in her clothes.