PARIS (AP) — As the world goes digital so too does fashion.
Paris' ready-to-wear shows on Sunday saw top houses open up their normally exclusive catwalk collections to Twitter followers. Arriving at its spring-summer 2014 show's warehouse venue, Givenchy's guests did not quite know what to make of the unexplained spectacle: A huge recreated car crash with six smashed up black Mercedes Benz and BMW's piled on top of each other. One fashion editor said the clothes might spell out the car crash symbolism.
But they didn't: Though Riccardo Tisci was certainly inventive in merging Masai-shaped draping with Asian warrior garb, there wasn't car metaphor in sight.
It was Givenchy's Twitter account that explained: "Car crash between Africa and Japan for the SS14 show."
It was a rare and cheeky ploy to get fashion insiders using Twitter to help understand the collection's inspiration.
In Chloe's show, though the loose clothes were easy and relaxed, camera production teams raced around with heavy apparatus, at moments distracting attention from the show, all to perfect a much-publicized live stream of the collection on Twitter and the internet. It's a laudably democratic move for an industry often accused of elitism. But one day will fashion editors even need to attend the shows?
Structured paneling, draping and silhouettes that hung from the neck defined Ticsi's complex show for Givenchy.
The 50-look-strong display married Japanese Samurai elements in black squares — as well as multitudinous layers and large Asiatic sleeves — with ethic African looks. They featured rope-like architectural details hanging in circles around the torso.
The models' faces were often fully adorned with sparkling face-paints in bright colors in a twist on a tribal style — and, indeed, the African elements of this collection were the most successful.
One model whose face was painted purple with bright red exaggerated lips sported a constructed vermilion dress with circular, triangular and diagonal straps and ropes hanging from the back of the neck. They opened up to a wide corset-like cummerbund and a symmetrically balanced draped skirt.
It cut a striking figure.
Tisci did not just continue with ideas introduced in his spring's Givenchy menswear show — unlike in other seasons — here in the womenswear he moved his ideas on to another creative level.
"Airy opulence" was one of the descriptions designer Clare Waight Keller used to sum up her comfortable ready-to-wear collection for Chloe.
Certainly, an airy, loose, unfitted softness pervaded the collection, which travelled gently from muted earth colors into minimal tailoring silk whites and then blues.
Comfort and ease are almost bywords for Chloe, the age-old house who afterall invented "pret-a-porter" in the first place — clothes that were designed ready to be worn straight off the catwalk and into real life.