(Editor's note: This is the final article of the continuing series on fashion)
It has arrived ¬- what fashion-lovers have been waiting for all month.
Three Words: Paris. Fashion. Week. Something also known as, the mecca of all things fashion.
Parisians are known for being edgy, fashionable and possessing an intriguing mystique.
Like the city's residents, its fashion week is no different. People travel around the world to see some of the most artistic and innovative collections designers have to offer.
Style gurus everywhere go into Paris Fashion Week with high expectations, and this year, they came out all smiles as Paris' designers set the bar high for next season.
Louis Vuitton
Marc Jacobs has outdone himself with his Louis Vuitton Spring 2009 collection. Louis Vuitton is the final of three collections he designed for the upcoming season, the first two of which, Marc by Marc Jacobs, were presented during New York Fashion Week.
The age-old concept of saving the best for last was dead-on in Jacobs' case. He outperformed his New York collections by a landslide, both of which were critiqued for their lack of innovation and mediocrity.
Be it a transition to a new city or the extreme versatility of combining a trendy, experimental Americana with a brand of Parisian heritage, the end result was astonishing.
The response to his collection was overwhelming, restoring the fashion-weary patron's confidence in what could be presented at the Cour Carrée du Louvre tents.
The collection was all about Jacobs' perception of Parisian style and culture, with sassy French music playing as the soundtrack, and a refreshing, American spin on French classics.
Models were styled with slick, sexy up-dos and poodle-esque pony tails that fit perfectly with the "leggy," loud designs. Each look was about getting as close to edge of overboard as possible, without actually going there.
Like many of Paris' designers, he channeled the 1980s with a modern twist. There was volume at the shoulders, structured blazers, blaring patterns and vibrant colors.
Each piece was expertly crafted with contrasting fabrics, combining velvet and leather into a sexy military dress and silk, flowing polka-dotted pants with a classic, structured blazer.
As artistic as it was, the collection was fashion-forward yet fun, proving to be a shopper's dream.
John Galliano
John Galliano took a change of pace with his collection this time around.
After the last three seasons of uncanny clothing, he brought his designs back down to Earth, or at least back into the stratosphere.
His version of reality is still remarkably fantastic, which became immediately apparent when his models marched down the runway strapped in tall, black marabou hats, military jackets and laced-up Mary Janes, reminiscent of the British Royal Guard.
Red and black separates were the focal point of his collection, ranging from heavy jackets in various shapes to sheer skirts that left little to the imagination.
There were flouncy, red dresses with pear- and oval-shaped cut-outs at the neckline that flowed like water around the body.
An interesting turn in the collection was the addition of bubble-gum-pink, a necessary, softening touch.
Usually a fashion faux pas, Galliano combined his pink pieces with some of his red separates in a way that managed to work.
Not one piece caused a snore, with new shapes and styles to flatter all figures.
Ruffles, gathering and pleating were of order at the waist, neck and arms. Galliano had an affinity of women's shoulders, as many of his designs hung loosely about the frame slightly exposing the limb.
Underneath the outrageous poodle hair-dos and crazy hats, Galliano presented garments that would be fantastic to wear for any occasion.
Fabric choices were transcendent. Designs were flattering. Colors were invigorating. All made for a collection nothing short of extraordinary.
Chanel
Leave it to Karl Lagerfeld to carry Chanel's legacy wit and egotism.
Lagerfeld is known for his larger-than-life sets, and this one was no exception.
A life-sized version of the 31 Rue Cambon store was the backdrop, and models sauntered down the runway, a replica of a street.
The whopping 71-piece collection stayed true to Chanel's roots, as well as to the aesthetic of Mr. Lagerfeld himself.
Sticking to a relatively strict palette of gray, black, white and some pink, modern takes on the traditional Chanel skirt suit opened the show.
From there, it was bouclé pencil skirts, pink sweater sets and bows.
Sexier details like sheer tops or pumps with marabou trim offset hip-slung chains and a quilted guitar case.
There was fringe, there were ruffles, there was lace and there were bows, but Lagerfeld just can't help himself with it comes to sexing up his collections.
Models donned stark black and white, complete with a black bowtie and brooch, and the masculine silhouettes contrasted sharply with the feminine skirts and frills.
The last women's looks concluded the show on a beautiful note, with gossamer sheers, ruffles and flowers.
There was a duo of bathing suits and the occasional pant, but for the most part, Chanel was feminine and glamorous.
Stella McCartney
If every designer had a slogan, Stella McCartney's would be "sexy without trying."
Sans moving beyond a limited color scheme of white, tan, gray, black and shades of blue, McCartney used silhouette and fabric to create sensual clothing.
Starting with altering her signature jumpsuit, McCartney created long and dangerously-short styles, the majority with plunging necklines and large lapels.
The trend of the oversized blazer worn over smart, cocktail-length dresses was not lost in her collection, and neither were signature, slouchy trousers.
Dévoré pieces lent an air of mystery because of their see-through quality, while tiny, nude bandeau dresses and one-pieces left little to the imagination.
Shimmering, sheer bodysuits were paired beneath chiffon or a heavier knit.
Some plainer sweaters weren't as beautiful, yet managed to maintain their "wearability" factor.
The collection alternated between sexy and demure while remaining cohesive. Even the more reserved pieces came with a deeply-plunging back. Toward the end of the show, the prints came out in graphic black and white.
Stella McCartney certainly has a knack for crafting clothes that are sexy, tasteful, fashion-forward and wearable.
Lanvin
For the final day of Paris Fashion Week, and ultimately the end of fashion month, Lanvin's head designer, Alber Elbaz, created an immaculate collection that left its audience gasping for air.
After a dark fall show, Lanvin gave his spring collection a lighter and softer note.
A blousy chartreuse top gathered at one shoulder and a voluminous black skirt composed the first look, and the collection propelled from there.
One-shouldered tops and dresses that were plaited, tucked and rolled bloomed away from the body, while darts and seams along the torso oozed shape and femininity.
One tangerine shift dress flowered spectacularly at the shoulder and embossed cloque, a raised pattern with a puckered look, which blended harmoniously with the frock's gleaming silks.
While black was dominant, there were refreshing shots and accents of tangerine, magenta, navy, pink, powder blue and bright green.
Slim silhouettes complemented more structural ones, especially when a futuristic, round-shouldered pod dress preceded the classic pencil skirt and tucked-in blouse.
On the other side of Elbaz's brain were prints, beading and embellishments.
There was a blue leopard-print creation and a couple of dresses adorned with beaded flowers.
A draped, pink shift dress was encrusted with orange beading around the neck, and the final look, a short-sleeved blouse and thigh-grazing skirt, gleamed from head-to-toe with powder blue and royal purple tube beads and sequins.
Overall, Lanvin was a stunning and optimistic way to end one of fashion's most exhilarating months.
Rebecca Babin and Emma Lifvergren can be reached at arts@dailycollegian.com.
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