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What the Critics Said About Paris Fashion Week, and What They Really Meant

“Collateral damage in a tuna hunt.”Photo: imaxtree

The reviews from Paris Fashion Week are clogging the Internet with words that resemble English but don’t necessarily make a lot of sense. That means it’s time for another edition of “What They Really Meant,” where we read the fashion reviews so you don’t have to. You’ve worked hard enough today already.

Robin Givhan on the concept of edginess for the Washington Post:

Nicole Phelps on Veronique Branquinho for Style.com:

Jersey shifts color-blocked in heather gray and black, and lace frocks in copper or emerald green rounded out an understated collection. Branquinho didn’t add much to this season’s fashion conversation, but the smart, self-possessed girls who number among her fans will find things to like.

Cathy Horyn on Rick Owens for the New York Times:

If you were to mentally trace the silhouette made by a jacket’s extra volumes — the cubes, the wings of fabrics — you would roughly have the outline of the contemporary person in the street, with her layers.

Suzy Menkes on Balenciaga for the International Herald Tribune:

In many ways the collection was calmer and more classic, although the latex added a sexual element. That came too when top and bottom halves of an outfit were divided with a gauzy insert, as though flesh were allowed to breathe through the carapace. The hand-painted latex of the finale, recalling both Ghesquière’s early scuba prints and noble warrior paintings, were a tour de force of the imagination in this stellar show.

Hilary Alexander on Junya Watanabe for the Telegraph:

Perhaps the models’ faces were hidden in order we might not be distracted and, thus, focus more on the clothes.

Perhaps not. It certainly wasn’t, as I had wondered, inspired by ancient peasant-women carrying urns or baskets of fruit on their heads.

What the Critics Said About Paris Fashion Week, and What They Really Meant