Elie Saab

July 15, 2014 by  
Filed under Fashion News

Daywear? Elie Saab has a ready-to-wear collection for that. At his Couture show today he was focused exclusively on after-dark. Saab made his point by lining the back of the runway with chandeliers, which were illuminated just moments before the first model made her grand entrance. The colors refracted in those chandeliers provided the palette: first blue, then pink, next blush, followed by black, white, and gray. For decoration, Saab preferred pearls. Tahitian blue for a navy chiffon goddess dress; white pearls on a long-sleeve princess gown; champagne-colored ones for a strapless cocktail number in a neutral shade of pink. The white-on-white looks were the prettiest, but damn if all those embellishments weren’t heavy. A few of the models really struggled with their gowns, and the bride, with her acres of embroidered train, didn’t fare much better. Surely one of Haute Couture’s pleasures should be the way made-to-measure clothes feel on the body.

Amid the tone-on-tone embroideries and the ombré effects, a sweeping ball gown in pink with tiny blue embroidery stood out. So did a couple of dresses that featured a lavish rose print. Saab should keep experimenting with print. For one thing, it’s a whole lot lighter than pearls.
—Nicole Phelps
Runway Feed

Elie Saab

March 6, 2013 by  
Filed under Fashion News

It was hard to stifle an eye roll when Elie Saab‘s smoke machine hissed awake at the start of his show today. After four solid weeks of shows, the fashion crowd is over stunts. The good news is, once the smoke cleared, Saab’s runway was gimmick free. He’s got his formula and he sticks to it. Strictly Decorative, he called the show, but that applied mostly to his daywear, which had a somewhat regimental feel in navy and black. There was sleek tailoring in crepe satin, and a few take-no-prisoners sheaths with waist-accentuating peplums topped by fitted jackets. A sweeter pinafore dress with a full skirt looked out of place among all that rigor.

For evening, Saab softened things up, adding colors like teal blue, violet, and chartreuse yellow to his lineup of white and black, and, as is his custom, laying on the sequins and beads. Picking up where his couture collection left off, he experimented with sheer tulle insets and peekaboo laces, which meant that while the silhouettes were modest, the results were still quite suggestive. Among the finer pieces was a demure cocktail dress in black lace with varying degrees of transparency, and a full-skirted black gown with an embroidered lace bodice and sleeves.
—Nicole Phelps
Runway Feed

Elie Saab

October 5, 2012 by  
Filed under Fashion News

Elie Saab dubbed his collection Heiress, but this aristo has a job. No lolling about in raw-edged silk pajama pants and fur-lined shower shoes for her. Saab emphasized daywear here, shirts that buttoned all the way up to the collar worn with flap-pocket trousers or pencil skirts, and for dresses, a fitted sheath or a V-neck with a pleated A-line skirt. The models wore cross-body bags or carried big totes—Saab meant business. He worked with strong, monochrome colors: royal blue, turquoise, raspberry pink. Most of them appeared in a bold abstract print used for a passage of floaty chiffon dresses. The dresses were a change of pace for Saab and not a bad one, even though most of Paris has moved on from the digital print craze.


For evening, Saab’s big idea was to sculpt dresses at the waist with grosgrain. The look was graphic on an ivory column embroidered with dark brown ribbons. He re-created the effect on sequined cocktail numbers and gowns with geometric inserts of lace tracing the natural curves of the body. That experiment produced the collection’s best piece, a three-quarter-sleeve raspberry pink dress on Magdalena Frackowiak that sizzled as she came down the runway.
—Nicole Phelps
Runway Feed

Elie Saab

August 5, 2012 by  
Filed under Fashion News

In Constantinople’s Wake was the name Elie Saab gave his show. The Byzantine Empire proved fertile territory for the designer. This was one of his prettiest shows to date, focused, as is his custom at Couture, almost entirely on cocktail dresses and evening gowns, and remarkably light despite the resplendence of all its thousands of beads, sequins, and crystals. It helped that he chose such delicate fabrics—Chantilly lace, silk jacquards that looked gold leafed, and a mosaic-print georgette—and that he used such soft shades of pink and blue. In the past, Saab’s colors have appeared dull or muddy. Not here, although a vivid jade felt garish in comparison to the sun-washed pastels.

He opened with a caftan shape in embroidered black tulle. The silhouette looked novel for him, but he mostly stuck to his Oscar-winning formula of red-carpet frocks. His talents don’t lie as much in patternmaking (the cuts are quite simple and repetitive) as they do in his way with embellishments: where he insets lace or stitches paillettes, how low a dress dips in back, how high a slit rises on the thigh. A sky blue silk crepe dress with gold guipure lace scrolling down one arm and side was particularly lovely. It’ll be a lucky actress who gets to wear it first.
—Nicole Phelps
Runway Feed