Ostrich feathers were the key to Lacroix's flirtatious exuberance for after-dark. He used them for long, opera-length gloves, as sleeves on shift-dresses with silver tribal collars and as skirts which came with fitted, gold brocade, military jackets. Velvet high-heeled boots were the accessory of choice.
Earlier, Dries Van Noten, one of the best-known and best-selling Belgian designers, paid homage to dressing up in boho-luxe.
His collection featured dresses in the new, below-the-knee length, hand-embroidered entirely from hundreds of miniature chiffon ¡°flowers¡±, or in tiers of dazzling, marble-ized geometrics printed on georgette.
Patchwork fur jackets were worn with floral-printed dresses over trousers and loose, V-neck shifts were patchworked from mixes of rose and geometric-patterned chiffon.
Necklaces, made from dozens of metal and enamel bangles, threaded on metal thongs, and floral-patterned shoes, added to the spirited, colourful mood.
But the French designer, Christian Lacroix was in no mood today for such conceptual games.
His collection for next autumn/winter, shown in a white marquee in the gardens of the Tuilleries, was designed for girls -and women -who just want to have fun.
Lacroix captured the party spirit the moment the first ostrich feather mini-skirt hit the catwalk and never let go.
Egg-shaped cocktail dresses in shocking pink, orange, turquoise and lime satin were strapless or featured a gigantic bow, tied on one shoulder. Longer, 'Charleston-style' dresses, with dropped waists, came in gleaming gold brocade or Modern Art-patterned velvet, emblazoned with fur and metal medallions.
Black bags on heads and deliberate 'bad taste' bustiers and bloomers in shocking pink satin may have dominated the Japanese designer showings at the
