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                                            (Spring summer '17)

Paris as the home of fashion, constantly spreading High Fashion around the world. All the creative minds begins from here on the era of fashion. 

From Chanel, Valentino,Balmain, Zuhair Muraid to Christian Dior, all have proved a versatility on fashion and influenced the world.

So here's the whole trend report on Spring Summer'17 collections


Tech-tech-tech, that  is all what the Chanel's show was inspired from. The way show was started, it was all techno and LED's.

Chanel’s iconic tweed suits, before proceeding through a series of kaleidoscopic dresses. Accessories wise, there’s robotic riffs on Chanel handbags, and some pretty awkward, down-with-the-kids reversed baseball caps.



Pierpaolo Piccioli's first solo collection was inspired by Renaissance painter Bosch's

 'The Garden of Earthly Delights'

As it was the Valentino's collection, the colors were full of reds, pinks and greys. Having almost straight silhouettes reaching ankles. Beautiful thing about it was its feminity on the every look.



The Balmain Army has shed its armor," he said. “Whatever I do, even if I cover up my girls, people can say it's vulgar. But this is what it is. I think it's really chic, really French. It's Paris how I see it.

 More like Balmain goddesses, all wearing regal pieces with Olivier Rousteing's signature sex appeal.

The colors were earthy and natural with flowy fabric. An a signature of balmain's collection, waist belt with feminine fitting was all that give structure of the garment,



Professionalism as a core of design, that's what the collection of Balenciaga talks about. Whole look was based on women's foot on professionalism.
The tight padded shoulder cuff's were giving whole collection a different yet sophasticated look.
As I mentioned on my earlier article ( ) that shoulder span has continued to be on trend this time as seen on this collection.
Bright and beautiful colors were used to enhance the beauty of collection   




 The show opened with a series of fluid, one-sleeved draped jersey dresses, which were inspired by the French women who populate this city; whose dresses seem to float as they move. That freedom of movement continued through to black and white polka-dot and checkerboard prints which danced across Eighties-shouldered flippy dresses with circular cut outs at the hip. 

As free spirited as that all sounds, tailoring here was anything but; rigorously sharp with jagged angles - from jutting necklines to shoulders that were cut to slant forwards, to skewed wrap-over hemlines, even underarms and sleeves were dramatically sliced open - these were power suits of the future aimed squarely at millennial CEO's.



The really great thing about Alexander MC Queen ? Regardless of what any other designer is doing - this, at a time where the Vetements effect is a crack that's still spidering out to several design houses - Sarah Burton continues to do 'McQueen', and the thing about that is, no matter what feels zeitgeist-y, it still works and it still feels up-to-the-minute relevant.

 This was a collection that delivered all the McQueen hallmarks, and then some; it was a show that made the more romantic houses in Paris look uptight; and other more rock 'n' roll houses look a bit, 
well, thin on the ground when it comes to ideas and execution.

Her starting point was the wild and magical coastal landscapes of the Shetland Islands. Inside the L'Orangerie du Sénat, in the lush grounds of the Jardin du Luxembourg, her runway was a hilly terrain covered in layers of rugs woven in those coastal scenes, they were hand-sewn taatit rugs, traditionally given as wedding gifts (when two marry, they are sewn together to become one). She was also thinking about the island’s famous knitwear – a best-selling category at McQueen, and this season's offering didn't disappoint with artisanal-looking hand crafted Fair Isle knits whip .
stitched together, and elsewhere cropped sweaters with puffy sleeves.


                         COMME DES GARCONS

Rei Kawakubo of Comme des Garcons who said this, while proceeding to construct a series of some of the biggest, most covered-up shapes ever to occupy a runway. Kawakubo continues to challenge almost everything about fashion, including whether her shows are actually “fashion” at all.

 To watch this parade of enormous, sculptural pieces was to wonder whether her subject might really be the invisibility of women, rather than clothes. In almost every case, the body, and sometimes the head, almost disappeared from sight within the perambulating structures. And yet, paradoxically, 
each of these was a female presence that occupied the most enormous amount of space.


                                                                                                  Credits- TheWestTrend

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