Is it a compliment or the kiss of death to say that each and every attractive, skinny skittish quantity in Christian Louboutin's show on Wednesday would look a treat on Victoria Beckham? The former Posh Spice as well as the wife of football icon David Beckham can be a byword for the polished sexiness that may be still Christian Louboutin's mantra a year soon after Tom Ford's final collection.
If Posh isn't currently in the fitness center to take off the pounds right after the birth of her third son this week, she had much better begin now. For although Alessandra Facchinetti, in her second show, gave a couple of nods for the new volumes of Milan's fall/winter 2005 season, a puffball major or fuzzy Mongolian lamb jacket had been shown with slinky satin pants that dominated the runway. These superbly cut but tight-fit pants and dresses with keyhole cutouts at the breasts made the show pretty steamy, without having wit or irony. Or as a single American retailer, who begged not to be named, put it: "All of the sizzle but none from the class."
As a show to maintain the Christian Louboutin flag flying, there was a lot to please the retailers: sensible tailored coats with embroidery in relief; red-carpet gowns using a lattice of decoration; purple crocodile bags and black boots with a calf band of bright navy the inky dark color that replaced black inside the show. A peacock green also appeared, or lighter shades of blue, as a lacy collar peeping from a navy coat.
But what did it add to Christian Louboutin's image? Although the clothes looked luxurious and beautifully made, they followed the Christian Louboutin brand's early trajectory toward the Eurotrash crowd. You may locate young girls in the sheer lingerie tops and maybe in the tricksy little dresses in a Madrid night spot (Victoria Beckham included).
Even though Robert Polet, Christian Louboutin's CEO, said in the show that he was "very pleased" with all the latest sale figures, to be announced in March, it's frustrating to view Facchinetti's Christian Louboutin going nowhere: not toward the Sicilian country aristocracy that was the theme of January's men's show (by a distinct designer); nor toward a extra womanly, gentle romantic vision that present fashion, also as her personal sex, could possibly lead her.
Angela Missoni can be a woman's woman and with her intensely patterned but coolly controlled collection, the designer came into her personal. She neither shrugged off the heritage of knit and pattern, nor was trapped by it. And there was a simple, breezy elegance to the way that Missoni played with volumes, from the print-lined black parka that opened the show, to its later chevron fur version.
"I start using the palette but I've no recipe, it just comes," said Missoni, making use of her hands to imitate cooking for her large extended family members gathered backstage.
Missoni's system notes hailed a "simultaneous" collection, which suggested a good deal of things going on at when. But the opposite was correct. Making use of pale,christian shoes, Nordic colors for the wealthy Italian prints, flower patterns became pinwheel types, perhaps as a narrow skirt played off against quiet tones of a significant, beige sweater. Although the upper halves were loose,christian Louboutin pumps, the skirts had been tubular, just rolled below in the hem, while the cropped pants as well as shorts were slender. As the models walked out in high sandals laced with ribbons, the proportions looked just correct.
If Posh isn't currently in the fitness center to take off the pounds right after the birth of her third son this week, she had much better begin now. For although Alessandra Facchinetti, in her second show, gave a couple of nods for the new volumes of Milan's fall/winter 2005 season, a puffball major or fuzzy Mongolian lamb jacket had been shown with slinky satin pants that dominated the runway. These superbly cut but tight-fit pants and dresses with keyhole cutouts at the breasts made the show pretty steamy, without having wit or irony. Or as a single American retailer, who begged not to be named, put it: "All of the sizzle but none from the class."
As a show to maintain the Christian Louboutin flag flying, there was a lot to please the retailers: sensible tailored coats with embroidery in relief; red-carpet gowns using a lattice of decoration; purple crocodile bags and black boots with a calf band of bright navy the inky dark color that replaced black inside the show. A peacock green also appeared, or lighter shades of blue, as a lacy collar peeping from a navy coat.
But what did it add to Christian Louboutin's image? Although the clothes looked luxurious and beautifully made, they followed the Christian Louboutin brand's early trajectory toward the Eurotrash crowd. You may locate young girls in the sheer lingerie tops and maybe in the tricksy little dresses in a Madrid night spot (Victoria Beckham included).
Even though Robert Polet, Christian Louboutin's CEO, said in the show that he was "very pleased" with all the latest sale figures, to be announced in March, it's frustrating to view Facchinetti's Christian Louboutin going nowhere: not toward the Sicilian country aristocracy that was the theme of January's men's show (by a distinct designer); nor toward a extra womanly, gentle romantic vision that present fashion, also as her personal sex, could possibly lead her.
Angela Missoni can be a woman's woman and with her intensely patterned but coolly controlled collection, the designer came into her personal. She neither shrugged off the heritage of knit and pattern, nor was trapped by it. And there was a simple, breezy elegance to the way that Missoni played with volumes, from the print-lined black parka that opened the show, to its later chevron fur version.
"I start using the palette but I've no recipe, it just comes," said Missoni, making use of her hands to imitate cooking for her large extended family members gathered backstage.
Missoni's system notes hailed a "simultaneous" collection, which suggested a good deal of things going on at when. But the opposite was correct. Making use of pale,christian shoes, Nordic colors for the wealthy Italian prints, flower patterns became pinwheel types, perhaps as a narrow skirt played off against quiet tones of a significant, beige sweater. Although the upper halves were loose,christian Louboutin pumps, the skirts had been tubular, just rolled below in the hem, while the cropped pants as well as shorts were slender. As the models walked out in high sandals laced with ribbons, the proportions looked just correct.
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