Pic from Couturesnob.com
Wow. Talk about musical chairs, first Dior, now Balmain have produced their pre-collections without the direction of their erstwhile creative directors Galliano or Christophe Decarnin, who shocked fashion editors with his departure from the French heritage brand earlier this year. His successor in the role, Olivier Rousteing, has seemed to have glossed up some of the trademark rough or deconstructed elements of Decarnin’s style, with a polished, white and gold Palace-of-Versailles colour palette, while remaining pretty faithful to the house silhouette of skinny trousers, micro-minis and sharply shouldered jackets offset with a sloppy tee.
Over at Carven, Guillaume Henry, charmer of the editors and modest head of design had turned to ‘the Alpine landscapes of Bavaria and Switzerland’ for his inspiration according to WWD and produced this clean, fresh collection with the kind of feminine-but-practical pieces that women are more than happy to part with their cash for. Now, Heidi has never been our first choice for dressing up, but you can’t deny that in Mr Henry’s hands the motifs seemed incredibly clean and modern with not a dirndl skirt in sight.
Aaaaaand finally, over at New York label Preen by Justin Thornton and Thea Bregazzi, modern florals were the order of the day. Managing to make Japanese flowers strong and architectural rather than frou-frou. The era of digital printing has totally transformed the potential of flower-prints, and these days Laura Ashley twee-ness is far from anyone’s mind as the most futuristic of taste-makers chooses floral motifs over other graphics. Other touches included livening up simple tailoring with touches such as draped kimono frocks and clever triangular pleats on dresses and skirts. Sehr gut, ja?