By Nicole Phelps
Taking Puccini¿s Turandot as inspiration, Kenzo¿s Antonio Marras sent out a fanciful collection of fall clothes that taken one by one had an insouciant charm. But shown at great length and often layered, as they were, the effect became treacly. In that famous opera, the protagonist is a Chinese princess who thinks nothing of ordering the death of a suitor who can't solve her riddles; Marras could have used some of that ruthlessness when it came to editing his show.Pinafore dresses in embroidered silk, mohair knits of roses and peonies, wrap coats and frogging details seemed in keeping with the theme. Even a camouflage vest backed in hot pink could be said to reflect the wild side of Marras¿ muse. There was less explanation, though, for a double-layer pleated tartan skirt, or a plaid coat-dress.For the finale, a giant lantern at the back of the runway lit up and slid open to reveal the models arrayed on steps behind a blooming cherry tree. As they took one last lap, thousands of tiny petals exploded from overhead confetti machines—thank you, LVMH. Here at least, Marras stayed true to his operatic inspiration.
http://www.style.com/fashionshows/review/F2006RTW-KENZO
Kenzo by Antonio Marras Fall 2006: A Thing of Beauty, A Joy Forever
By Mari Davis
PARIS, Mar 4, 2006/ FW/ --- The invitation for the Kenzo show was a precursor of the catwalk preview. Shaped like a fan, with the label name Kenzo spelled out in the blades, it was precious, something to keep as a memento of things that are beautiful.
So, walking in at the Salle Le Notre of the Carrousel du Louvre, and being greeted by a gargantuan Chinese lantern as part of the stage set, it was logical to assume that the collection would make references to the Chinese culture.
That assumption was partly correct, because Antonio Marras?inspiration was Giacomo Puccini opera entitled 騻urandot,?a story about a Chinese princess who refused to marry. And like Puccini opera that was a masterpiece, the Kenzo Fall 2006 collection by Antonio Marras was a tour de force that married artistic rendition of very wearable and covetable garments.
Beginning with outerwear that was cut wide, it was obvious that this collection, though properly entitled Autumn 2006/ Winter 2007 defies the accepted classification of seasonal fashion.
Every piece will withstand the test of time, and will never get pass? hence even when it becomes intage Kenzo?it will still be as fresh as when it first came out.
Winter capes were tailored like parkas; the trench coats that were inspired by the Mandarin costume were quilted and floral embroidery added. Day jackets had soft, barely puffed sleeves, cinched at the waist with a big belt, again based on a Chinese costume, but this time instead of royalty, this one came from the peasants.
Collars were high, a retrofit of the Mandarin collar, but fit nicely with the double-breasted day jackets that showed the European influence in China. Trousers were slim, but relaxed fitting.
Like Princess Turandot whose wardrobe is legendary for its beauty, the Kenzo woman for Fall 2006 has been proposed a similar arsenal. From 鷔himmering velvet and enormous colorful coats to skirts with pleats, flares or flounces,?the Kenzo woman becomes a very likable candidate for the best-dressed list.
From floral to Prince-of-Wales prints, to stripes, checks and herringbones, the whole collection spoke volumes on regality and independence with a hidden romantic inside.
Assured of her femininity, the Kenzo woman can wear mannish clothing as seen in the pantsuit sets that referenced the European costumes during the time of Marco Polo when he traveled to China; decorated with Venetian lace, damask, silk, netting and figured wools, they emphasized the simmering sensuality of the Kenzo woman under these masculine garments.
And though daywear is very colorful, eveningwear takes somber tone in black and silvery white made very feminine with their taut bodices and foliage prints.
http://www.fashionwindows.com/runway_shows/kenzo/F061.asp
main colors
Cixi
