La Parisienne

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March 3, 2013 PARIS By Alex Veblen The collection's theme was "uptown, downtown," which might initially seem been-there-done-that. In Paris, however, there isn't a geographical equivalent, and the style nuances aren't defined as such. So, really, what we are dealing with here is an American conceit parsed with Parisian flair. And in fact, this is not the first time Paule Ka has crossed the ocean for inspiration (Resort 2013 blew kisses to New York; Spring 2013 was in praise of Palm Beach). But leave the repurposed Americana to that other hip Parisian designer; founder Serge Cajfinger's brand vision has always put polish before edge. Still, you could sense that edge was gaining ground this season, from the loafer-legging-boot in calfskin and stretch suede to the bejeweled beanies. White shirttails persistently poked out of sweaters, and elongated silhouettes (namely, a boxy mid-calf skirt) felt more rebellious than the mini with an underlayer of lace. Surrealist accessories—the outline of two hands formed into a collar, lip-shaped brooches, and wide-eye hair clips—were all welcome proof that the brand is not taking itself too seriously as it makes a more serious commitment to expanding in the U.S. and Asia. Retailers will gravitate toward items like the fabric-blocked tunic, the graphic swing coat, and the darted dressy sweatshirt in tomato-soup red. The collection's hero piece was an A-line coat in crackled vinyl that was embellished with a mink collar and silver fox skirt. Both fur pieces are removable, thus creating various permutations, whether you live uptown or down.

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March 5, 2013 PARIS By Alex Veblen Only Jean-Charles de Castelbajac could create a collection called Foxy Lady and proceed to include a print of John Everett Millais' drowning Ophelia. But she didn't actually rear her half-submerged head until toward the end of the show, which began on a comparatively tame note with a houndstooth wool suit and a black bustier top. A colorless scheme continued for the next dozen looks and allowed de Castelbajac to move through several motifs without causing heads to spin—which they nearly did upon registering the tartan minidress fronted with an enormous fox head, its ears extending up past the shoulders. Fantastic, indeed. It also took a moment to identify all the metal bits patterned across a knit jacquard: razor blades, barbed wire, nuts and bolts, pliers. The braided jacquard was equally dynamic. By the time the collection transitioned into color, de Castelbajac had proven he was back on his game. He admitted as much after the show: "I've fallen in love with fashion again." The comment was as telling for what he didn't say. But he didn't really need to say much more. In a new twist to his signature blanket dresses, de Castelbajac designed the strap to look like a scarf that had been effortlessly tossed over the shoulder. The openwork around the edges of his wide-sleeve tops resembled clockwork. The white ringed collars came close to being clerical (the show took place in a chapel). Speaking of crosses, a black one concealed the face of a red-haired maiden on a full-length caftan. Ophelia gasped from a motorcycle jacket, its collar neatly rolled down and secured, and then she floated across an accordion-pleated skirt. In a season so dominated by black and white, de Castelbajac's intense reds—whether on a dyed fur shrug, jumpsuit, or draped satin gown—and Pre-Raphaelite print had a stimulating effect. "Sometimes words are stronger than technology," the four-decade fashion veteran explained of his desire to parlay poetry into a wearable statement. At that point, it almost didn't matter that the snap-on spats occasionally came loose from their studded heels. Technical difficulty, that's all.

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