London & Paris Fashion Reports

Burberry Prorsum: Coats plus

MANILA, Philippines - In a parade of coats inspired by the English countryside, rejuvenated for city dressing, there were several spirited pieces for fall: a cotton and tweed trench that contained details of the classic Burberry trench (epaulettes, rain shield and storm flaps) as well as a shooting jacket in a short version that flared out at the hips. A checked wool topcoat felt more subdued, while a herringbone version with a rabbit and fur collar was plush.

Classic contemporary: Burberry Prorsum incorporates English countryside with urban dressing.

Puffers in jewel tones were fit to the body like an A-line dress, or cut like cropped bomber jackets. Where jackets were cropped, skirts had pockets at the hips, a practical signature for FW ‘12, with diagonal feminine ruffles on knee-length skirts. Upbeat details included owl prints on tees and a bulldog print. Envelope clutches accented with metal animal heads and English terrier heads on umbrella handles were a cosmopolitan interpretation of sporting activities in the wild. Velvet pieces were reminiscent of Victorian dressing (not least due to the colors), perhaps to remind us, in the display of contemporary touches, that the brand was created in that era.

There was just one thing we wanted to see in the collection: long formal dresses. We can imagine Burberry Prorsum black-tie gowns that would go well with the ripe-faced celebrities filling the front row.

Hot librarian: Lounge-y, androgynous tailoring with a feminine flair at Paul Smith

Paul Smith: Going androgynous

The designer said that the FW ‘12 collection emphasized what he does best: pieces to wear for seasons to come, to be matched with what he’s created in seasons past. ‘‘There is a continuity in my brand and in this collection, I’m doing what I do best.’’ That familiar Paul Smith route included tailored coats and easy pants and sweaters.

The first few looks had a lounge-y languid feel, as if inspired by mens’ dressing gowns. Boyish shapes ruled: pants were tapered and slightly cropped, sweaters were slim and straight. Jackets and coats were androgynous in cut, and the brighter colors for which the designer is popular were refined to rich, deep jewel tones. ‘‘The collection is inspired by my love of beautiful tailoring and the female form, but not in a flesh-exposing way,’’ said Smith.

The show contained sharp pieces for the working woman’s wardrobe — white and checked button-down shirts, turtlenecks for layering, and modest kneelength skirts (accessorized with eyeglasses to drive the sober tone in, very librarian-ish). There was an emphasis on the suit that went all the way to a deconstructed tuxedo dress, sans ribbon. A gray pantsuit with caramel ombré said it best: this collection was designed for a woman who was serious, not precious, down with her totes and loafers. Still, there were hints of glamour and femininity in the embroidery details and a glass beaded dress.

A true gem: From crystalline prints to sparkling eyebrows, Chanel looked to nature’s geometry for inspiration.

Chanel: One gem at a time

Large shards of crystal-like pieces jutted from the ground and its powdery remnants covered the floor. Had some kryptonite-like substance exploded in the Grand Palais? A movie with Karl Lagerfeld as fashion’s superman, surely, would be an apt metaphor, with Chanel saving the world of fashion from its foibles in this stellar (pun intended) collection.

Lagerfeld used prints in every which way, from watercolor-like hues on long shifts to surrealist blocks and stripes on sweaters and oil paint on coats. Cozy furs had little indents; in dark purple with amethyst-colored accents, it looked sumptuous. The pattern of lace pants looked as if air could breezily pass through; black ensembles, in contrast, had an entirely dark sensibility, replete with perforated fingerless gloves and metal collar-bibs.

Semi-precious stones invaded the collection, encrusting sleeves, bags, and belts, trimming skirts and jumpsuits, and making eyebrows shine. Swirly camelia brooches in deep purple and electric blue adorned a lapel, and glowed amidst triangle shapes that shone like broken colored mirrors. Round stones in flickering fuchsia and blazing yellow were like shiny new bubble gum balls rolling down gray wool. It was sci-fi, it was pop, it was even metal; light on the neck were stone-topped alloy bibs. If a person were to become blinded by fashion’s glitter, this show could be the tipping point — the world created here was inspired by riches of the earth, then transformed into an intergalactic everystylishwoman. It was Chanel, one gem at a time.

Back in time: With oversize proportions and exotic fabric, Louis Vuitton’s show was a tribute to the beautiful and old-fashioned.

Louis Vuitton: All about craftmanship

One could imagine what kind of technology and funding were needed to produce the Louis Vuitton FW ‘12 show; its set was a train that glided into the space: a large tent in the Cour Carré de Louvre. Its passengers were Vuitton-clad models who looked as if they had stepped out of a previous century, when trains had steam engines and ready-to-wear was scarce, and hinted at couture. If you could possibly forget details like large floral-shaped buttons reminiscent of an era in fashion gone by, or crystallized logos that gave the impression that they had been attached by hand, you would begin to feel that the spectacle before the audience was relevant as a marketing tool, more so than with other brands (knowing what a powerhouse Vuitton is in the world today).

Porters carried logoed Louis Vuitton bags, most of which felt like they came from the era of the old, old school, when Louis Vuitton began his brand as a trunkmaker for wealthy travellers. The collections looked to be Marc Jacobs’ ode to the brand name he’s made legendary (his own is honored alongside the Louis Vuitton Marc Jacobs exhibit at the Louvre’s Musée des Arts Decoratifs). Croc hat bags and totes topped with a floral jewel piece had a quieter appeal than the rest of the collection, and the tan and chocolate luggage, which looked slightly weathered — and loved — were sure to catch the hearts of the consumer who had it all but had it with flash. In these items, substance and form were given precedence over trendiness, but even in the faddish pieces in the collection, like the ruby-red luggage, there was a similar kind of hushed beauty. It was no less Vuitton but it gave the impression of the Louis Vuitton of yore, or what Marc Jacobs wanted us to feel the Vuitton was about: craftsmanship and voyage. At about 10:20 a.m., the show ended but doubtless, the journey of stakeholders with Marc Jacobs and Louis Vuitton continues until the next full stop.