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Business casual needn't apply
their label of choice.
Owens' trademark elements were all there the extra long sleeveless vests, the oversized turned up collars, the backless apron shirts but somehow their aggressive edge had been slightly blunted. A lighter palette of bone white, putty and olive, in addition to the usual black, also helped soften the collection.
PARIS (AP) Wallflowers and those in the market for business casual, look elsewhere. Not pieces meant for sitting, but who needs anything so pedestrian when there are photo calls?
A list photographer Mario Sorrenti called the collection "amazing, totally sexy and glamorous" high praise in the fashion world, but hardly the adjectives any true punk rockers would want applied to their style.
after the show. "I thought it was time to make it more feminine, more sexy."
Arora said he'd tried to vamp up the collection by making it more body conscious than usual.
Now we know what the aliens will be wearing when they take over: Without a doubt, Rick Owens will be Nike Basketball Shoes Orange
jeans were shrunk onto the models' waifish frames or slashed suggestively to the very upper reaches of their thighs.
These were clothes for making an entrance, avant garde pop star style. In such clothes you don't sit those oversized sculptural hips wouldn't allow for that but simply stand there and bask in the glow of flashes.
Swingy cocktail dresses were heavy with paillettes and cropped bolero jackets sprouted braided gold appliques that stood out from the body.
The Delhi based designer outdid himself with a collection where nary a surface escaped the onslaught of sequins, rhinestones and sculptural gold appliques.
The punks' iconic garment, the leather biker jacket, replaced the peak shouldered blazers that have become 's must have look in seasons past.
"I'm known to do complicated clothes and lots of embellishments, but my shapes have never been so fitted," he said Nike Blazer Suede
"It's not worth presenting unless it's a bit supernatural," he told the AP in a backstage interview.
Slashed American flag tank tops so abused they looked like period pieces from the punks' 1970s heyday were held together with safety pins.
It's a pretty safe bet that the late Clash frontman Joe Strummer would be rolling in his grave to see the safety pin become a luxury status symbol for the It Girl set.
The rhinestones that have covered all things in bling were still there, though the Nike Foamposite Galaxy Glow In The Dark sparkling crystals competed for space on the leather jackets and denim hot pant cutoffs with hundreds of little silver studs, like the ones used for piercings.
Everything about the punks that was raw and explosive became, in Decarnin's hands, slick and sleek and smolderingly sensual. Gone were the combat boots, replaced by spike heels. The bleach splashed denim Foamposite Black
Owens sent out an invading army of extraterrestrial princesses in eerily long, sweeping skirts and clean, sleeveless leather vests with trailing trains. Horn combs, like alien antennae, gave the silhouettes extra length.
Even the shoes, booties with vertiginous heels, were covered in grasping little coral like tentacles that shook as the models their faces abloom with gold and colorful stripes stomped down the catwalk.
Another American, one time wunderkind Zac Posen, made his Paris debut with a sensual collection that paid tribute to the French capital's legendary revues, sending out vamped up, feather covered cancan girls worthy of the Crazy Horse or the Lido.
The It Girls' favorite label, , turned punk upside down with a slashed, trashed and thrashed luxury hardcore collection held together by what were certainly the world's most expensive safety pins.
In flowing white skirts and sleeveless vests, Rick Owens' preternaturally elongated models looked like well meaning aliens beamed down to teach earthlings about the finer things in life (like style.) Their long, lean silhouettes blunted the California born designer's aggressive edge and softened his usual post apocalyptic aesthetic.
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