COUTURE FALL 2010 BOUCHRA JARRAR

5 JULY PARIS

f the clothes that Bouchra Jarrar showed for her second haute couture collection weren't quite as severe as the austere stonework of the Musée des Arts Décoratifs that provided their backdrop, they definitely had a classical rigor about them. Jarrar set out to offer a complete wardrobe—from jackets, dresses, and a trenchcoat to the goddess gown that closed the show—in a way that reflected the breakfast-to-bedtime ideal of traditional couture. That meant her emphasis was on what she felt was essential, and things were pared down to the max. The palette, for instance—navy, black, ivory, with gold accents. And the silhouette, streamlined for an athletic impact that felt very much now (the trench was sleeveless).

There was delicacy in the balance of a two-piece outfit in ivory crepe that met at a single point on the waist. The slashed wool pieces with a glint of gold lamé underneath had a subtle glamour. But the most encouraging aspect of the collection might have been Jarrar's faith in her own voice as a designer. After the show, the Balenciaga and Lacroix alum counted "my maturity, my age" as influences. If enough customers feel the same way, then Jarrar's voice could become that of contemporary couture, too.

Marc Clotet

Marc Clotet, born April 29, 1980, in Barcelona, Catalonia, Spain, is a Spanish actor.

Clotet is perhaps known for acting mostly in telenovelas in his home country Spain.

Clotet acting career started in 1997 when starred in one episode of "Tocao del ala". Starting in 2007, his career started to take off starring in numerous Spanish high-rated soap operas including "El comisario", "El cor de la ciutat", and "Física o química".

Aside from his acting career, Clotet has also delved into modeling and has appeared in "Shangay" magazine.

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Cecilia Sörensen by Patricia M. Félix "Inside out"

CECILIA SORENSEN

BARCELONA, Apr 6, 2009 / FW/ — Born in Finland in 1976, Cecilia Sorensen began her design and fashion studies in Helsinki and London, and completed them in Barcelona, where she has been working for some years.

She worked for Antonio Miró before setting up her own business in 2002. Sörensen has two different lines: Celia Sörensen and Pequeños Héroes [little heroes], for which she uses only recycled materials.

She draws inspiration for her intimist designs from her life, the rooms in which she has lived, her books, her memories and family photos, and her dreams.

Sörensen has taken part in Bread & Butter in Barcelona and Berlin, and in the Rendez-Vous show in Paris. She has sales outlets in Barcelona, San Sebastián and Corunna, as well as in Finland, Sweden, Japan, Italy and France. She won the Barcelona és Moda 2008 and ModaFAD 2002 awards.

(www.ceciliasorensen.com).

Photo by Biel Sol

Contact:

Cecilia Sorensen
C/ Notariat, 8 tda izq,
08001 Barcelona, Catalonia
SPAIN
T +34 93 317 6883
T + 34 651978422
www.ceciliasorensen.com
info@ceciliasorensen.com

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We loved the ultra-feminine vibe we spotted almost everywhere this week. The look was layered and lacy with lots of leg, and - interestingly - it played more romantic than risqué.

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Part 2 Chanel - Haute Couture Fall Winter 2010-2011 Fashion Show

Part 1 Chanel - Haute Couture Fall Winter 2010-2011 Fashion Show

CHANEL FALL 2010 COUTURE

PARIS 6 JULY 2010

Karl Lagerfeld has often insisted that his collections come to him in dreams, but following his new Chanel couture show, he claimed the dream this time had been a nightmare. "No, no, just kidding," he quickly added, but there was a weight to the clothes that suggested a darker thread in Chanel this season. Compared to the glistening sci-fi whites of his Spring couture, these looks had a moody tinge. The colors, for a start: maroon, loden, navy, brown, camel. Next, the fabrics. As the show unfolded, there were velvet trims on shadow plaids, crystal trims on camel, fur trims on tweed. Dark tapestry was crusted with embroidery and beading. Imperial gold detailing against a field of navy sequins made Freja Beha Erichsen look like a girl waiting for her Ruritanian soldier.

Then there were the proportions—tiered, short-over-long. A cropped jacket with elbow-length sleeves topped a high-waisted, to-the-knee skirt—a look that combined elongation and bulk in a way that was intriguing though likely to pose a challenge to many bodies. How would it gel with the Leightons, Blakes, and Jessicas in their front-row perches? But if the collection had a difficult aspect, it also felt brave in its boldness and focus. In place of the magpie glee that can make a Chanel show such a sensory overload, there was an almost military discipline here, even as the parade grew more elaborate with each passing outfit. The combination of voluptuousness and severity could have bordered on an arch libertine sensibility, but barely brushed hair and fresh, girlish makeup added a vital lightness.

The ever-precise Lagerfeld is a textbook Virgo, but in honor of Chanel the Leo, he filled the Grand Palais with a vast and marvelous lion. Its paw rested on a huge globe—a Chanel pearl, perhaps—from which the models emerged. Befitting a collection that had the courage of its convictions, this was a fierce, awe-inspiring creature—one that could have sprung from a dream or even a nightmare.