The chicest of pantsuits were shown in a deep navy with silk, fur, and sheer panels evoking a sophisticated and feminine silhouette. Day dresses continued this theme with fitted waists and flared skirts being the dominate features, while pencil skirts paired with sporty sweaters demonstrated Elie Saab’s take on a more downtown-cool look. Evening gowns were, of course, embellished and detailed to perfection with a few edgier pieces showing with full sheer skirts. Of course, a gorgeous winter white was also shown for both day and night with a floor-length cape-jacket being the epitome of chic.

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Karl Lagerfeld takes the CHANEL girl into a darker style for fall. We do see a slight pop of pastel tones throughout the collection, a tie-in from spring. However, for the most part gone are the pastels, traded for an influx of navy, teal, pink and classic black and white.

Crystals embellish the collection, placed on hems, cuffs, trims and heels. “Nature’s the greatest designer, these shapes are millions of years old,” said Lagerfeld of his crystalline inspiration.

Quilting, leather and sheer fabrics are just some of the many ‘Chanelisms’ that speak from the collection. Classic CHANEL tweed is of course a staple, this season paired with thigh high boots in both black and white leather. Black and white are combined not only in tweed patterns, but also fresh prints and three dimensional appliqués.

All in all, as their walk around the globe, we are reminded that this is CHANEL’s world and we are just living in it. Bravo Karl, another truly fantastic collection!

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Photos via Catwalking.com

Blue and red dominate the color palette, which also included a pale periwinkle, silver, white, black and gold. Silhouettes evoke a sense of orientalism, referencing robes and kimonos, in what translated into a feminine, refined, samurai-like aesthetic. Wide sleeves exaggerate the proportion of the arms; perhaps the new “exaggerated shoulder”?

A distinct eye print ran throughout the collection, as well as, a crocodile textured lamé, seen on a variety of pieces. Both sure to be seen on many in the fashion forward crowd come fall.

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If last season’s woman was part of a holy ascension in to heaven above, then it was clear from his collection today that Tisci’s Givenchy woman was no longer the archangel he presented last fall – this time around, she is hurtling towards the depths of hell itself. And that is no presumption – from the fiery pin curled hair to the fire-like paisley prints, this woman was a gypsy, whose sins had finally caught up to her, and the ideals of fire and brimstone immediately come to mind. And yet – there has never been anything cooler than to be that woman. Of course, it seemed almost reworked – there were elements of the collection that reminded one of the fact that not a single couture outfit has been shown from the house of Givenchy for spring – then again, it was appropriate as well, given that even his menswear appropriated that ideal of demi-couture-ism, giving an otherwise

The shapes and silhouettes were a mishmash of playful architecture – slouchier sweaters were paired with looser, flowing skirts; tailored trousers met with flowing shirt dresses; embellished hems were scattered about sheer organzas; and everything came together to create a dark, almost grim, tension that showed just how different Tisci’s woman is just six months on. And that was part of the story, here – the woman, his woman, is no easily read book. She is a mystery that can change at the drop of a hat. The prints, of course, were in full force, an appropriate contrast to last season’s stark minimalism, and showcased what Tisci is becoming known for – those hero piece sweaters, t-shirts and prints that are a timeless necessity in anyone’s wardrobe.

It seemed almost political, however, given the recent events in the Catholic Church in Rome not too long ago. Tisci, though not a prophet, seems to be in tune with the world around him, and maybe that is exactly what he needed after such a simple and elegant spring collection – he needed to deconstruct, demolish, abolish, and almost demonize his own work, in order to give the Givenchy woman the fresh take on fashion she needed for the new season. So perhaps being a fallen angel isn’t so gruesome. After all, even Bambi seems to be a Givenchy fan.

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Photos via WWD

Of course not – but that’s the secret to Philo’s success, isn’t it? Taking all of those elements that construct her woman, and become a master alchemist, blending them all together to turn it in to something covetable, desirable, and lustable – it’s the Céline by Phoebe Philo trademark, after all. There were the stalwart pieces that Philo is becoming a pioneer of – those luxurious coats in cream, soft dusty pink, deep navy and forest green made from soft furs screamed Céline at the top of their voices, and the marbled accessories as cuffs and necklaces gave an added sophistication to the collection – but there were also those new, somewhat kitschy items, that were most certainly embraced with open arms. The checked print were reminiscent of the shopper bags that old British ladies carry on their daily shopping extravaganzas, which only heightened the fact that Philo’s British roots are shining through, giving the Céline woman a little bit of a more daring approach.

But there was something different, this season, as well. Whilst Philo’s aesthetic was always focusing on the more boxy silhouettes of menswear for her woman, she’s clearly become fond of pushing her woman back to a femininity that borders pretty. Flowing skirts and twisted fabrics seemed almost psychological, telling the customer to embrace the femininity she’s been bestowed upon, but those menswear elements were still there – after all, they’re another Philo stalwart. But then again, that again is what Philo does best – merging femininity and masculinity in to something that everyone – even the men amongst us – are coveting. The shapes were more feminine, indeed, with those rounder hips and flaring skirts, but the tailoring brought it back, controlled it – something the color palette may not have been able to do, with its wide range. Indeed, the heavy use of white, cream, and various softer pastel tones gave lightness and fragility, whilst the darker tones such as the navy, grey, and black added a touch of density, or perhaps, even power.

There was, however, one thing that was thrown in to the mix. An element of perverse sensuality joined the simple structures of the collection, presenting a, well, genial duality – it seemed an organic progression, so much so that one could forget, momentarily, about that this was next season’s offerings. And therein, again, lies Philo’s success – something transitional never goes awry in fashion. And if spring was a palette cleanser, and fall is the appetizer, it seems appropriate that simply put, we demand the next course. Chef Philo, we await your next dish.

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Photos via WWD

For fall 2013, Maison Martin Margiela explores a variety of influences. Classic menswear pinstripe textiles come in to play, redone in exaggerated forms, most apparent in oversized cuffs, which appeared to run throughout the show. Mesh, silk and velvet take over part way through the show, a slightly disjointed transition in the collection. Color palette also moved from navy, charcoal and white to burnt orange, mustard, bright red and even pink.

As usual, the Maison Martin Margiela collection attains a deconstructed elegance, with strong pieces that, when standing alone, can translate well into statement everyday wear.

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Photos via WWD

Simons’ injection of Warholian pop art references here and there was a pleasant surprise – though Simons’ love for the art world is no mystery, it seemed appropriate that he subtlely added it in a very Dior way, especially given Dior’s own work with Warhol during his life. The floral motif returned from the previous season, but in a quieter, more embroidered way – after all, Simons’ and Diors’ love for florals seems to be a running factor in the success of Simons’ new Dior. But for the new season, Raf did something that, quite frankly, was required of him – he took an immense risk marrying Dior with pop art, and a sensitivity that only he himself could present.

But what truly made it a Raf collection was all of the ‘new’. The new working of the Dior houndstooth in to oversized, floral, blown out of proportion, in navy and baby pink; the new floral motifs as touches, rather than as domineering; the new old classics, such as the Bar jacket married to a pair of baggy wool trousers, or the bustier and full skirt dress in lambskin leather, or the full iridescent skirt accompanied by a one shouldered capelet. And whilst everything was indeed pretty and perfect, there were elements of edginess that Raf is renowned for injecting – one earring akin to that of a spike, the embroidered cowboy boots, the off-kilter heels, not to mention the addition of plenty of leather.

But what the collection showed was more than a well thought out collection. It showed a true marriage – whilst his past couture and ready-to-wear collections with Dior have been truly outstanding, and proved Raf’s worth of his role at Dior, none had shown how ideally perfect this union has been. Dior’s high-fashion standing meeting Raf’s artisanal approach to design, as well as the clear acceptance of the Dior atelier to make Raf’s designs a reality – it proves that Raf is the right man for the right job. And there’s nothing that’s sweeter smelling than that – except, perhaps, the transitional nature of Raf’s designs. It seems that the ideal of a ‘new classic’ is on it’s way to becoming synonymous with Raf at Dior. And that is a true success story.

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The majority of the pieces are very form-fitting and body conscious, though some of the most endearing looks boast  hemlines with a hint of a ruffle or more feminine feel.  Winter white plays an important role for fall, with these looks being some of the strongest of the collection. Of course attention must also be payed to the fur-trimmed booties, which gave an added edge to the looks and are sure to be a hit with Marant’s customer. The collection exudes an easy sort-of glamour, with a flirty yet refined feel and one that’s perfection for the Parisian girl in all of us.

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Photos via WWD

As  KENTON’s European Fashion Direction, Colin Dawidziuk says:  ’The collection was definitely high octane luxury, and it was the true definition of Balmain. Olivier really knows who is girl is, and he’s definitely letting her grow up a bit – she’s not a party girl anymore, and she’s a bit more sophisticated – that’s not saying she loves a good time, but she’s certainly gained some maturity, and so has Olivier. The jewel tones were so representative of that, and everything was so luxurious that it lived up to the Balmain price range.”

With that we leave you to have a browse through the gallery and check out the collection for yourself. Get ready for a fierce fashion journey!

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Photos via WWD

The collection, of course, was everything that was expected of the young American, but with a twist. Yes, there were those elements of the street cool and must-have accessories – the metal applications on the boots and bracelet versions of the intricate design (looking oddly like barbed wire) will likely be everywhere next season – but there was no slouch, there was no urban-cool. In fact, it was bare bones Balenciaga – again, something expected, given Wang’s proficiency for spending time in the Parisian houses’ archives since his appointment – but everything was still there. The luxury of Balenciaga meeting the effortlessness of Wang was truly a match made in heaven, at least for now.

The luxury was something unexpected, though, partly because even though Wang’s own label is luxury, it exudes ‘cool’, rather than ‘chic’. But Balenciaga was chic. The simple cuts, the boxy silhouettes, the slight quirks here and there – it was definitely a Balenciaga by Alexander Wang approach towards a historic archive. And yet, despite all this, there were elements that were inevitable – the slightly oversized fur boleros towards the end of the collection harkened to a favorite silhouette of Nicolas Ghesquière’s, as did the slivers of skin here and there. But that was expected as well – Ghesquière sat at the helm of the house for just over 15 years, and his design aesthetic was certainly part of the archive Wang had to play with.

But Wang made it all his own. The luxurious furs, the cracked-paint mohairs, the focus on the ideal of marble cracking; it all came together that showed something Ghesquière himself was fond of as well – a demi-couture sensibility, something we never expected from the young street-cool kid, but was a pleasant addition to prove his worth. What Wang did at Balenciaga wasn’t exactly new, or revolutionary – in fact, it did come off a little bit safe. But maybe that’s what the house needed – after over a decade of one man’s vision, it was a palette cleanser for the masses, leaving a sweet taste in our mouths. Perhaps next season, Wang will become more comfortable as a member of the world’s most powerful fashion houses, but for now – welcome to the fold, young Wang. There’s no turning back now.

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