North West gets own seat at Givenchy next to mom

Staff Writer
Columbus Monthly

PARIS (AP) — Mademoiselle North West is barely over a year old, but she's already commanding what fashionistas may have spent entire careers working toward: A front row seat at Givenchy.

The celebrity offspring was seated in pride of place at "AA5 bis" next to proud mom, Kim Kardashian in a revealing Givenchy black bodice look, and dad Kanye West. ("Bis" is a French term for additional, or last minute placing — which suggests that North's presence had been confirmed only fashionably late.)

She gave her mom a run for her money in the fashion stakes: in a demure black Givenchy tulle dress with patent black leather shoes and stylish thick white laces.

In fact, there was so much attention on the little star that people almost forgot the reason they were there: Riccardo Tisci's ready-to-wear clothes.

Here are the highlights and show reports from Sunday's spring-summer 2015 collections.



In front of a celebrity-filled front row including singer Ciara and actress Juliette Binoche, Tisci went Balkan.

With graphic and tight-filling silhouettes— in black, white and brown — the Italian-born designer took traditional Eastern European dress and fused it with hints of '70s disco.

Sunday's aesthetic — which was overall aggressive — marked a return to the gothic-infused dark musings Tisci built his career on, after brushes with softer looks in recent seasons.

It was all in there: thick lacing on knee high boots, constructed collarless Balkan jackets, exaggeratedly high-waisted A-line skirts, beaded bodice dresses, Orthodox-style crosses, and even large Balkan jewelry served up on a beige sparkling disco fleece.

Eclectic cultural fusion is Tisci's strong point.

There was even a long, square Ottoman-style jacket, with dense fabric and thick embroidery, shaken up with black and white stripes popular during the reign of pop group Abba.



Chloe dedicated its collection to the influential Gaby Aghion, who founded the house in 1952 and died Saturday, aged 93.

Aghion will be remembered for pioneering the concept of ready-to-wear clothes, and she has been credited with coining the very phrase "pret-a-porter."

In 1956, together with Jacques Lenoir she put on the first ready-to-wear show, reportedly at a breakfast at the fashionably intellectual Cafe de Flore.

Aghion also has a great eye for talent, and the career of Chanel's designer Karl Lagerfeld owes a lot to her — as she first poached him in the '60s to design at Chloe.

A message in the program notes honored her legacy and praised her "free spirit and independent resolve."



The '70s-infused Chloe girl this season looked like she could jet off at any point to the summery Greek islands.

Knee-high lace sandals set the Grecian tone immediately.

A Balkan-looking dress came in fluttery lace sexily revealed the skin.

The classical musing continued in a loose-fitting square brown dress looked almost like a tunic, with traditional embroiderings, reminiscent of traditional Greek island-style.

But the most feminine looks were found in an earthy ochre silk top which billowed voluminous folds over the breast — or, elsewhere, in the long, hanging column silhouettes.

Was Clare Waight Keller channeling the majestic Caryatids that hold up the Athens Parthenon?



It was a low-key, yet stylish, collection that met Kenzo's guests on Sunday morning.

The calm vibe was most probably welcomed by the bleary-eyed fashionistas, many of whom clutched coffee before the show.

Silhouettes were soft: either long with giant billowing Asiatic pants — white, black, blue or printed — or with boxy torsos with circular, often flared sleeves, and flared A-line skirts.

The graphic shapes, Oriental yet abstract, merged East and West, as is now the common theme from designers Carol Lim and Humberto Leon.

Denim was one new addition to the Kenzo universe.

It was seen in an industrial-looking, soft boxy shirt-coat, with on-trend eyelets. (This utilitarian theme has been on high rotation this season.) And elsewhere, on a neat, dropped, kick skirt.

There was a lengthy, white stripy shirt that looked so relaxed, it was almost an invitation to crawl back to bed.



Phoebe Philo worked her minimalist magic to produce a relaxed collection — with diverse ideas on show.

Ballgown-like ruffled fringing on dress hems contrasted softly with sporty shoulders.

A pendant around the neck or on a waist belt — delicately accessorized an angelic white enveloping gown.

While lattice work — like square-shaped pieces of buttoned-down fabric — on sleeveless tops added the signature fashion-forward twist.

Despite the varied styles — there was cohesion in the subtle Philo touches, which gave this collection an abstract lift.

But the nicest looks were surely the flowery feminine print dresses with bits of divergent fabric placed or inserted almost haphazardly on the long floaty pre-War silhouette. They had a nice, snipped-away feel.


Thomas Adamson can be followed on Twitter at