Christian Lacroix HC S/S 06 Paris

I've got to be honest, I'm not liking this at all. For someone who excels at mixing colors, textures and treatments like he does I expect so much more. The only thing that seems promising is that crimson gown that's facing backwards.

I almost always like something about his couture, it always brings to mind some fantasy world that you just want to be apart of....but all of those country florals, the lack of color, the odd volumes, I don't like it at all.
 
Suzy Menkes International Herald Tribune

The red carnations that were flung at Christian Lacroix at the end of his show were not just for the joy of seeing a designer back on top form. They also signaled Lacroix's return to his Arlesian roots - all fresh white fichus and bullring jackets, bright Spanish colors and the sweet meadow flowers of Provence. The backdrop was a giant etching of Arles in the black and white that featured strongly in the show. "I wanted to go back to the beginning and to the codes of the house," said Lacroix, who celebrates 20 years of his couture house, now under new ownership, in 2007.

The show's strength was in its control. Instead of the wild abandon of color and decoration with which the designer leapt on the scene in 1997, there was a gentle beauty in lacy dresses, touched with black ribbons or pale blue bows, and in the simple hair where glitter bands nestled in loose curls or white roses swung down a pony tail. The silhouettes were mostly slender, occasionally puffed up with ruffles or as a light-hearted balloon of dress.

Current couture themes of polka dots, ruffles and roses worked well, with a sensual señorita in a froth of black and white. There were painterly hues too, cerulean blue and strokes of gleaming gold. Each individual piece was beautifully worked, and even eccentric pairings of splashy skirt and densely decorated jacket had a charm that brought Lacroix back to his rich basics.
 
I like some of his 19th century/Guinevere-inspired silhouettes. I'm in love with the dresses on Lily and the gold+white one Vlada wears. So princessy I can't resist ;) However, even though he masters colors very well I guess the part of his work which is a very complex color splash is not my cup of tea at the moment (like Snejana's and Michelle Alves dresses)...
 

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Some great color, it feels quite French, as Christian Lacroix naturally will. Lacroix sometimes uses too much pouf for my tastes, and there is some of that I see here, thankfully not to much. This is some excellent stuff, very striking, lively, vibrant. It's obviously couture, but not too much fantasy.
 
in a word i would say flawless!, Christian Lacroix is becoming more and more aproachable with each new couture collection while keeping his touch wich i find very difficult to achieve after many years of excessiveness, this even looked modern in a way to me, its a bit relaxed, the models look amazing and at the same time it doesn´t look like he´s compromissing his vision or creatitivity to come up with it, what i admire the most from his couture is his craft and this time the fact that it looked perfectly balanced between modern and old like eugenia´s light blue dress with golden brocade flowers or raquel´s amazing red silk bull fighter bolero, he truly earned a standing ovation.
 
I've fallen head over heels in :heart: with this dress on Snejana:

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so fabulous and very "wearable"!!!
as always... my favorite!!!

so, when's the next party??? :p B)
 
It's sad that although Lacroix produces some of the most brilliant couture dresses, not much of his work gets coverage or worn.
 
Back to his colour scheme. But OMG, I think I'm the few not to like this. Who'll take up his job, then?
 
his face looks wierd to me... he became so old, I think he needs a face lift
 
WONDERFUL! i want it all!
my second fav HC collection so far, after Chanel...
 
the collection is up at style.com:

PARIS, January 24, 2006 – It was a collection that read like an emotional homecoming: Christian Lacroix going back to Provence, the place where he started in the 1980's. The difference is that what he's doing now with all the poufs, the florals, the corsetry, and matador jackets looks much better than it did when Ivana Trump was his chief patroness. It's just as head-spinningly decorative, just as frilled and flounced and passionate about vermillion and orange, hearts and flowers, but it has become infinitely lighter and better connected to the general flow of fashion.

Lacroix hasn't veered from his Arles-meets-the-eighteenth-century reference point. Nor has he lost his obsession for making every outfit a mismatch of color, fabric, and texture. It's that the shapes he's using—the peplum jackets, with under-frills of lace; the toreador boleros, done in sheerest, gold-embroidered organza; the balloon-sleeve, high-neck poet blouses; and the scallop-edged table-linen dresses—now relate to trends that are emerging elsewhere, at influential houses like Balenciaga and Prada, for example. Lacroix's personal journey, it seems, has wound back, through poetic coincidence and dogged artistic integrity, to become newly accessible. Now that the difficult stiffness and eccentricities have finally dissolved from his collection, smart young Oscar-bound actresses ought to be running into his arms crying, "Dress me!"

– Sarah Mower
 

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