AT THE Grand Palais in Paris yesterday, the little black dress and the little black suit negotiated their way on the Chanel catwalk through a stage set of interconnecting white rooms for a winter collection that spelled out clearly the enduring appeal of classic French chic, a no-nonsense black-and-white statement for recessionary times.
Many of those in the audience were attired in variations on the theme though not with the stylised boaters, frothy lace jabots or dandyish white pleated cuffs sported by the models.
Heavy rain in Paris did no deter the city's beau monde either with front rows guests including Freida Pinto (of Slumdog Millionairefame), Kate Moss, Claudia Schiffer, Beth Ditto and photographer Mario Testino.
The failsafe tailored tweed suits in many textures bore the familiar cardigan or double-breasted jackets, slightly wider shoulder and occasional contrasting green tweed breast pocket or cuff details. Softening the line were delicate tunics in cobweb knits styled with pink tights, a hosiery shade seen all over this season.
Accessories were ingenious like quilted bags encased in clear Plexiglass briefcases or platform stilettos with chained heels – shoes in Paris get more elaborate with each collection.
The show had the usual Chanel panache and flashes of colour like jade, but long blonde models in overpowering chunky pink sweaters, ribbed wool leggings and boaters were more Barbie than Gallic in spirit.
French rigour was in sharp evidence at YSL where Stefano Pilati is perfecting a cool, polished style growing in confidence with each collection. He opened with a number of studies in black leather including a black biker jacket and jumpsuit followed by a series of city suits in mostly grey flannel or grey pinstripe and ornate white blouses with billowing sleeves.
Tailoring was crisp and mannered but never overwrought; skirts had high waists and flirty sides, jackets a little cutaway curve in the back and a grey sack dress, a flattering inverted back pleat. Though evening wear took second place to day wear, it had the same mix of power and restraint – with the requisite tuxedo, always a YSL signature and some simple dresses in multicoloured lamé knits.
This was a chic, sophisticated collection that far from being utilitarian, kept the modern metropolitan woman and an everyday working wardrobe always in clear focus, the only jarring note the spindle heeled velvet platforms that felled one model. She simply stopped, unbuckled the offending shoes and marched on, head high, regardless.
