Alexis Mabille

July 23, 2014 by  
Filed under Fashion News

“What is the most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine.” That Susan Sontag quote provided Alexis Mabille with a starting point for his new Haute Couture collection. Mabille’s general idea was to incorporate some element of a man’s wardrobe into each of the outfits. Nothing groundbreaking as far as concepts go, but it did produce one of the designer’s most restrained and accomplished offerings in some time. First out was a “tuxedo” consisting of a double-breasted jacket and long, narrow skirt, the wool on both pieces fused with lace to create a tempting bit of peekaboo at the waist. Elsewhere, the neckline of a black lace gown was accented with lapels, and a white bib-front shirt was extended into a dress. As a rule, the more masculine the look, the more compelling it was. A frilly dress embroidered with naive parrots on a vine lost the plot. But an emerald green strapless number, the torso of which was built like a jacket with lapels peeled back to reveal the creamy satin corset underneath? We’d bet Mabille’s star client Dita Von Teese already has that one on hold. It put proof to the Sontag maxim, and then some.
—Nicole Phelps
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Alexis Mabille

September 25, 2013 by  
Filed under Fashion News

Our review will be posted shortly. See the complete collection by clicking the image at left.
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Alexis Mabille

August 16, 2012 by  
Filed under Fashion News

Pity the designer who had to follow Raf Simons’ blockbuster debut at Dior. Today, that task fell to Alexis Mabille, and the Frenchman suffered by the comparison. A beauty look that had his models sporting crescent moon hairdos with diamanté brooches suspended from their tips did him no favors, but the collection’s more fatal flaw was its lack of focus.

Backstage, Mabille said he was “imagining women as jewels.” That gave him his far-ranging color palette—malachite to opal to topaz to platinum—and an excuse to lay the sequins on thick. Beyond that, it was hard to connect the dots between the show-opening clingy black jersey dress trimmed in 600 buttons and the finale look in nude crepe veiled in a silvery organza. Still, there were a few winners in the mix. The long-sleeved velvet number with slits on the front and back of the bodice and batwing sleeves stood out for its simplicity. There’s beauty in diversity, sure, but a strong point of view is everything in fashion, as Simons made so clear at Dior. Mabille’s collection didn’t have enough of that.
—Nicole Phelps
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