PFW Saturday: Vivienne Westwood, Hermès, Elie Saab, and McQueen

A day of contrasts where two indie labels – Vivienne Westwood and Elie Saab -showed there is a vibrant life in being autonomous, while brands from two mega groups – Hermès and McQueen – evoked sexual independence and female power.

One house always known for its progressive politics is Vivienne Westwood, maintaining that tradition with the location of its show – Place de la Republique “where protest and history happen,” as creative director Andreas Kronthaler put it.

Nice also to see the house is still called Vivienne Westwood. Rabanne lost Paco, McQueen dropped Alexander and Dior is generally printed without Christian.

A telling fact, because this felt very much like a special Vivienne Westwood show, since the DNA of the brand is alive and still surging in the soul of her widowed husband and design partner, Andreas.

The name remains magic on the streets with thousands of fans craning for view of arrivals. Going into a meltdown when Cardi B arrived. Post-show, the little lady had the photographers swooning again, doing an elaborate series of gyrations in the backstage, dressed in a mash-up Vivienne cartoon cocktail.

Andres entitled this collection ‘Calibrate’, wanting “ultra-feminine… brainy sexiness.”

He achieved that with figure hugging sandy-hued knits worn with a six-foot long chain necklace; elegant crisp cotton shirt dresses with restoration moll sleeves; slickly ruched wrap dresses, also paired with yards of pearls.

The gentlemanly dandy tailoring in bleached out chalk stripes was great as were silk monogram dressing gowns and parkas. Along with décolleté leotards worn with sparkling leggings; crazy cool bouffant skirts; and a great mannish zoot suit or two.

Even the fans outside in the square applauded lustily, as Andreas wandered triumphantly around the show space taking a long bow. Every hand clap merited.

Scores of single girls out for a jaunt or date at Hermès this season, where their fashion promenade was rudely interrupted by three individual entrances onto the runway by animal-rights protestors.

A strict color palette and an even stricter silhouette; bodycon albeit always quiet luxury. Women on the mission, though more likely a romantic one, rather than a career move. Starring a fine array of soft calfskin biker jackets; long zippered mesh skirts; saucy twill rompers.

A show three times interrupted by banner waving protestors, who were hustled out amid much noise. Given that this event was staged inside the Garde Republicaine – where is housed the cavalry regiment that parades with French presidents – this was a very bad day in terms of show security.

In marked contrast to the clothes where everything was spruce and effortless, though obviously produced with great attention to detail. Leading to a great finale: intricate and intreccio leather sheaths or tunics and short skirts worn with riding boots. Never in the history of Hermès have we seen so much skin in a show.

And in case you did not get the message, on the soundtrack Mick Jagger crooned: “The smell of you baby, my senses, my senses be praised. Kissing and running, kissing and running away.”

Like we said for gals on a mission – late night.

Grace under pressure is true mark of a gentleman, an adage that came to mind watching an excellent collection today by Lebanese designer Elie Saab.

As his hometown of Beirut endures appalling airstrikes and his grandparents had to exit the capital seeking safety, Saab still managed to finish a collection and present it inside the Palais de Tokyo on Saturday afternoon.

It turned out one of his best shows in years, beginning with great beach and poolside looks; excellent lien pants suits; super beach cocktail mesh dresses and breezy linen safari jackets. A great wardrobe for a day on the beach at Byblos, Mykonos or St Tropez, and light years away from the bombed-out cityscapes seen in Lebanon today.

Saab reminding us of the incredible skill of his Lebanese artisans, as he went up two gears with some majestic silk chiffon robes finished with raffia and beaded detailing; or rather astounding sequin printed columns of bucolic gardens.

Images that won Saab a standing ovation, prolonged cheers and left several clients visibly in tears.

“I simply wanted to show a different side of Lebanon, to present what is great about my country,” said Elie post show.

McQueen rounded off the day with a show dedicated to that most Irish of myths, the banshee. An ideal image for a house like McQueen of strong women with magical powers. Originating from the Gaelic bean sí, or woman of the fairy mound, the Banshee came to be known as the female spirit who sang laments at funerals, or even announced the coming of death.

Presented inside the Beaux Arts, which looked like it was undergoing renovations. But was in fact an installation by Tom Scutt. Who used replicas to make it seem McQueen had ripped up the central tile floor and build an all-steel runway. All covered by dry ice in the show.

Designer Sean McGirr riffing on McQueen’s famed tailoring techniques in taught suits, cut with big lapels, and slightly ruched to give them ripples and plenty of punch. Worn with 15-inch-long collars on men’s shirts; or pique-collar tuxedo shirts, their necks finished with belts. The cast walking on wooden soled platform boots or belt loop sandals.

Though the key to the show was the great image making – truly beautiful rag doll dresses of torn chiffon and Swarovski crystals. A trio of bright white ripped tulle frocks, one finished with a dazzling gold sequined frack with highwayman collar. Climaxing in a silver mesh and crystal column covering from head to toe – a beautiful banshee if ever there was one.

The show marked the second by McGirr for the house, and he certainly proved tonight that he has the design chops to carry this maison.

His bow was greeted with huge cheers and a hint of a banshee’s wail. This is one appointment that the honchos at Kering got right.