Rare tribute to avant-garde as dark edge wins the day

PARIS Fashion Week’s sophomore day was a rare tribute to the avant-garde, with nearly every designer showing some signature edge.

First off at the Carrousel de Louvre was Japanese designer Hiroko Koshino, whose designs explore the tension in the modern use of traditional Japanese garments. The collection bore an unusual appeal to an Irish audience in its tribute to mysticism.

Velour screen printed draped dresses in autumnal shades would not go amiss on our shores; while her structured wool coats paired with obi belts and kimono sleeves will no doubt prove a modern covet. In keeping with the old meets new, audiences loved the series of full-length strapless dresses padded in traditional Japanese style and Kishono’s juxtaposition of modern colour blocking on pastoral prints. Not to be forgotten is the shutterbugs’ favourite, a couture-inspired 3D metallic petal dress. Simply divine.

Over at the industrial Garage Turrenne was Co Tyrone’s own Sharon Wauchob. Since starting her own fashion label in 1998, Wauchob has garnered an international following for her Japanese-influenced avant-garde aesthetic — and with good reason. Her autumn/winter was a testament to her inimitable manipulation and construction of fabric into near works of art. By tapping into the climate of dark recessionista chic, she has managed to somehow remain bouyant in her whimsical interpretation of the solid silhouette. Swiss guipure — a close cousin to heavy fishnet — anchors the collection.

Likewise, draping is married to modern architecture in strong shoulders and funnel necks creating visual impact. Most impressive were the sequin-embellished jodphurs and leather- panelled trousers which gave a trompe l’oiel knee boot effect; along with manifold pleats parlayed into fur and feather combinations on dresses and jackets.

Avant-garde fashion would be meaningless without a bow to the Belgians. And who else better to round off day two than Antwerp’s darling — Bruno Pieters? Depsite a cracking view of the Eiffel Tower, everyone including publisher Jefferson Hack, was there to sample the designer’s famed experimentation.

Using the theme of evolution, Pieters created a hybrid of past meets present to the tune of electro-opera falsetto. Models worked a funeral march in a palette of black, copper, brown and grey with nothing but berry slicked lips for contrast. Hoods and capelets were ominpresent — all box-shaped and pleated where possible; while outre 3D bows on body con dresses and 3D fur funnel sleeves raised the bar in sophisticated chic. It was worth the near rugby scrum of the show’s late start and dare I say, the sting of not getting a Balenciaga ticket. Besides, Dior and Westwood beckon tomorrow. Quite the antidote.