In mid-March the eyes of the fashion world were on Paris, where 50 designers were showing their visions of how women should look next winter.
1. GV Three girls modelling day outfits by Bernard Perris with cutaways of audience (3 shots) 1.04
2. GV Several models in hats and coats by Chloe, various, with cutaways of photographers (3 shots) 1.33
3. GV Models in red and black outfits (2 shots) 1.54
4. GVs More coats and hats, cutaway of photographers (3 shots) 2.13
5. GVs Tailored suits (2 shots) 2.40
Script is copyright Reuters Limited. All rights reserved
Background: PARIS, FRANCE
In mid-March the eyes of the fashion world were on Paris, where 50 designers were showing their visions of how women should look next winter. A total of fifteen hundred fashion writers and photographers, together with hundreds of buyers, gathered in the city -- the traditional home of haute-couture -- for the seven-day spectacular of non-stop parades. The showings were held in the gardens of the Louvre, where three huge marquees had been erected. One group of designers had come all the way from Hong Kong. The Italian industry was well-represented as was that of the Scandinavia countries and Japan, whose designers brought with them fashions far-removed from the feline elegance associated with France. Some French designers have cuttingly described the work -- in worn out wool and safety pins -- as "Hiroshima without love". The style and sophistication of Paris was represented by the work of Bernard Perris -- with a collection of ready-to-wear tailored suits in wool, cashmere and angora, which used earth colours and uncluttered lines. Skirts were short, just touching the knee-cap. Chloe, another French name, also chose simple sweeping lines, moulded only by the drape of soft fabrics. According to the designer, geometric neatness was achieved by wide, angular shoulders. To put an end to the never-ending debate on skirt length, Chloe introduced a double-hem. Colours were stark and dark, with splashes of vivid red, or pale contrasts.
Source: REUTERS - PIERRE RIHOUET