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2009 March 9

Runway Reviews

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Akris Fall 2009 Akris Fall 2009
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(PARIS) Emanuel Ungaro
“This was about making this chic Ungaro madam a little bit more free-spirited and relaxed,” said Esteban Cortazar after his third Ungaro effort. “There’s so much sculpted fabric tradition about this house, but I wanted to work with that in a more structured way--without compromising the flamboyant and wonderful femininity of our consumer.” He certainly succeeded by finally and confidently bringing his free-spirited South Beach instinct to Avenue Montaigne. The girls walking down the runway did so with wide smiles and rhythmic struts. Body-hugging dresses, well-cut micro-mini skirts, flowing polka dot blouses, spirited knits, and expertly cut jackets dominated the show, perhaps decreasing the houses’ target age by at least 15 years in the span of 15 minutes. Cortazar, who’s now only 24, is perhaps best suited to keep taking the grandiose house into the young and happening closets.
 
Akris
It’s perhaps almost unfair to see Albert Kriemler’s creations for Akris on the runway without actually touching them. The creative head uses some of the most luxurious fabrics around, like double faced wool, quilted lamb, and cashmere knits. In other words, his loyal and well-dressed clients know what they pay for when they faithfully invest in the brand’s exquisite jackets, coats, and flattering pants. “These times motivate you to be more creative,” explained the designer. “We all know that we have to please a customer much more today. Clothes shouldn’t be constrained. Anything that’s complicated in these times simply looks dated.” Taking that mantra to heart, Kriemler took a photograph of a trapezoid a few months ago that inspired his appreciated Fall effort full of intelligent coats, intriguing pullovers, and lasting dresses.

Costume National
“I think the Costume aesthetic is very strong,” said Ennio Capasa of his fall effort. “And I like to work with that in mind, and not focus on this tremendous revolution. It’s about strong fabrics, pragmatic women, and great tailoring.” Polished masterwork on women’s tuxedo jackets was the definite strong point of the show; the dresses (with the exception of few one-shoulder standouts) were not. The showcase succeeded when Capasa’s strong women actually looked the part in masculine wool and refined jackets. The long boots and square ankle numbers often overshadowed the shiny dresses, though few fur pieces were exciting in tone and structure.




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