2012 September 27
Paris Spring 2013: Carven, Manish Arora
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The cultish fanclub effect for Carven's low key impeccable lass is only going to grow given Guillaume Henry's Spring setup: structured toppers and shifts, sharply cut and bordering on prim, save for the curvaceously-cut, asymmetrical hems and oil spill-esque peeks of skin, just below the clavicle, say, or nearly tucked under the arm in the ribcage region. Slightly subversive to only the most astute of detail-oriented types; what could be more novel? To wit: toile prints brown or navy upon cream, sporting those splotches of flesh in slightly unexpected locations, in a slightly swingy dress silhouette with wide-strapped sweetheart necklines or a tad sportier racerback options. Those same shapes were equally as appealing, if not more so, in navy tweed-ish knit, a series of lustworthy lacy persuasions (in pitch-perfect teal) as well as olive-tinged neutrals. Also excellent: cropped sweaters in taupe or navy, particularly when the former was paired with tomato-hued trou.
As a sartorial homecoming of sorts, Arora delved wholeheartedly into his Indian heritage with his latest: gilded to the max, a cadre of kurtas (tunics), and nearly show-stealing baubles entwined on wrists, collarbones, and draped from the crowns of mods' sleek coiffures. Exuberantly patterned and freshened-up iterations of the tunic were underpinned by scaly-looking metallic leggings or peculiarly intriguing sheer skinnies bunched at the ankles. But it wasn't solely caftan time for Arora: collarless, boxy toppers both mid-thigh and hip-grazing in length, billowing pants (gold and drop-crotched, anyone?) minis positively sprouting 3-D overloads of textural embellishment, the whole lot of it erring on the crux of surreal and trippy.
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