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Have a look: 21 bold new styles from Paris Fashion Week

On the runway at Paris Fashion Week

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DAMIR DOMA Damir Doma’s show notes referred to a “subtle rebellion”, “neo-corporate silhouettes” and “spare utility.” Which is to say, the collection mostly consisted of ashen, slightly edgy day dressing. Still, there were some sporty touches such as the recurring ruched band along collars, cuffs and waistlines as well as laser-perforated wool.


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The Paris-based Croatian designer excels in form: wide bolero layers, precisely tailored skirts and blazers sans lapels. But occasionally, the monochromatic palette veers too close to bleak. That’s why the introduction of deep rose worked so well. Better late than never.

Christophe Ena/AP

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DRIES VAN NOTEN Beneath a grand, glowing mass of chandeliers – a world away from the garage venue last season – Dries Van Noten once again explored the layering of masculine and feminine codes. You might even say he placed them cheek to cheek (a languid version of the Fred Astaire/Ginger Rogers ditty accompanied the show).

Christophe Ena/AP

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Since the notion of clashing ideas is Van Noten’s design raison d’être, it makes perfect sense that he would show a workman shirt in a fancy brocade. Layers – whether flapper fringes or solid sheaths – elongated the silhouettes with slouchy style.


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And then there was his use of feathers this season; often in small tufts rather than large patches, they swished with a different sort of rhythm. These were dresses that were designed to be danced in.


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ROCHAS There is truth universally acknowledged that a woman wishing to make an entrance should be seen descending a staircase. By the time the Rochas women arrived to the runway, guests could tell that Marco Zanini had chosen to focus on 1950s volume.


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But of course, he was looking forward, not back. You won’t find a printed skirt like this at your favorite vintage shop; it’s made of neoprene.


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Not every look was about fullness, though.


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GARETH PUGH Gareth Pugh’s collection included dresses that seemed largely inspired on Victorian shapes… except for the fact that these ones looked as if they had been charred or covered in tar. Some dresses were completely covered in plastic trash bag fringes – an extraordinary feat. Many show goers were just as excited that Cher was there.

Zacharie Scheurer/AP

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THIERRY MUGLER "It's a whirlwind of cultures caught in the jet stream," says Nicola Formichetti in the press notes. With Sebastien designer Peigné, he conceived a collection that propelled vintage air travel into the 21st century. Silhouettes were sleek and aerodynamic.

Jacques Brinon/AP

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Where the creative duo has played up the sex factor in the past, this season suggested a new interest in propriety (not that the shapely pencil skirts eschewed seduction). They also worked in more colour. The result was a Mugler collection that showed maturity and confidence -- definitely increased wearability (even if today's women are still unlikely to don such suits for a redeye flight).


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Do the cutouts on this melon pink mink blouse remind you of airplane windows?

Jacques Brinon/AP

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H&M This was H&M’s first fashion show in Paris – and it’s first runway show in seven years. Within an enormous tent fully furnished like an eccentric penthouse apartment, the collection came across as dressier and more elevated than what appears in stores.


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H&M is so inextricably linked to fast fashion that it was somewhat jarring to see such wintry pieces shown so far ahead of when they will arrive in stores. Even more uncanny: this faux fur coat almost entirely echoed designs shown by Tom Ford in London just last week.


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RICK OWENS Over the past few seasons, Rick Owens appears to be moving away from some of his severe signatures, all while maintaining the drama. As a wall of smoke created a surreal climatic effect at the top of the runway, models with heads of flyaway hair appeared in robes and jackets embellished with oversize stitching.

Jacques Brinon/AP

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The width of his kimono sleeves contrasted the pin-thin heels on his boots. And this season’s limited (read: non-existent) colour scheme reconfirms that Owens is at his creative best when working amid constrictions.

Jacques Brinon/AP

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LANVIN After last season’s boxier, origami-styled silhouettes, Lanvin’s Alber Elbaz returned to one of his standbys: the ruffle. But this time, he altered the context; paired with shiny patent oxfords, gold chains and a tiara, the dress – the show’s opening look – established a youthful, less rigid mood.


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Which is not to suggest he moved away from the refined, sophisticated looks that attract women of all ages to the brand. Catherine Deneuve was among the many guests who watched the show with a container of popcorn (Elbaz is a consummate host).


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Layers of papery silk were one of the ways he showed texture in the collection. Extra-long fur stoles and shaggy fur coats were another.


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HELP NECKLACE Elbaz has never been afraid to express emotion through his designs. But presumably (and hopefully), this one is meant to be tongue-in-chic.

Jacques Brinon/AP

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LOVE NECKLACE As the crowd made their way out of the École des Beaux Arts, this seemed to be the general sentiment.

Jacques Brinon/AP

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