{"id":232954,"date":"2019-09-30T02:14:24","date_gmt":"2019-09-30T06:14:24","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=232954"},"modified":"2019-09-30T02:14:24","modified_gmt":"2019-09-30T06:14:24","slug":"guest-models-mirren-longoria-energize-loreal-fashion-show","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2019\/09\/30\/guest-models-mirren-longoria-energize-loreal-fashion-show\/","title":{"rendered":"Guest models Mirren, Longoria energize L&#8217;Oreal fashion show"},"content":{"rendered":"<figure id=\"attachment_232956\" aria-describedby=\"caption-attachment-232956\" style=\"width: 1080px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2019\/09\/69614777_520804632041896_4135819248322145423_n.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-232956\" src=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2019\/09\/69614777_520804632041896_4135819248322145423_n.jpg\" alt=\"\" width=\"1080\" height=\"1350\" \/><\/a><figcaption id=\"caption-attachment-232956\" class=\"wp-caption-text\">Armed with a battalion of celebrity ambassadors, L&#8217;Oreal took over the historic Paris Mint building to stage a Paris Fashion Week extravaganza. (<a href=\"https:\/\/www.instagram.com\/p\/B2_--9UDWHw\/\">Photo<\/a>:<a href=\"https:\/\/www.instagram.com\/lorealmakeup\/\"> lorealmakeup\/Instagram<\/a>)<\/figcaption><\/figure>\n<p>PARIS \u2014 Armed with a battalion of celebrity ambassadors, L&#8217;Oreal took over the historic Paris Mint building to stage a Paris\u00a0Fashion\u00a0Week extravaganza. Offerings from Elie Saab, who went 1970s, and Vivienne Westwood, who stylishly towed a line between ethnic and punk, made for a frenetic pace of shows on Saturday.<\/p>\n<p>Here are some highlights of the day&#8217;s Spring-Summer 2020 ready-to-wear displays:<\/p>\n<p>L&#8217;OREAL GOES TO THE MINT<\/p>\n<p>L&#8217;Oreal&#8217;s celebrated female empowerment at its third\u00a0fashion\u00a0show, which featured actresses Helen Mirren and Eva Longoria giving turns as models and was broadcast to over 40 countries.<\/p>\n<p>The French cosmetic giant&#8217;s display still was less ambitious than last year&#8217;s edition, which took place on the Seine River, or the one staged in the centre of the Champs-Elysees that literally stopped traffic in 2017.<\/p>\n<p>Nonetheless, Mirren, Longoria and Dutch model and former Victoria&#8217;s Secret Angel Doutzen Kroes energized spectators at the evening show, joining Cuban-American singer Camila Cabello, American model-actress Amber Heard and other new L&#8217;Oreal models to show a collection of carefully crafted looks.<\/p>\n<p>Whatever the styles lacked in unity &#8211; they harked from diverse design houses that included AMI, Balmain, Dries Van Noten, Elie Saab and Giambattista Valli &#8211; they made up in razzmatazz.<\/p>\n<p>A strong-shouldered tuxedo mixed with a 70s jabot collar shirt on Mirren, styled with her hair slicked back, contrasted with more feminine styles, such as a trapeze-shaped, shoulder-less coral gown or the dazzling pearl-hued ruched number Longoria wore.<\/p>\n<p>The L&#8217;Oreal brand&#8217;s cachet in makeup could not go unnoticed. Kroes and other models were made to look nymph-like, thanks to makeup director Val Garland and hair baron Stephane Lancien.<\/p>\n<p>\u2014\u2014\u2014<\/p>\n<p>ELIE SAAB CHANNELS CIRCLES, 70s<\/p>\n<p>A vivid red screen flanked the Elie Saab runway inside the grounds of a Paris institution, the Michelin 3-star restaurant Alleno Paris at the Pavillon Ledoyen.<\/p>\n<p>The Lebanese designer got decorative and turned the style-dial firmly back to the 1970s. Small circles were a key theme.<\/p>\n<p>The circles, at times, appeared controlled, such as the tiny perforated eyelets on a sporty white mini dress with long tassels.<\/p>\n<p>Later, the theme had a boho vibe: a petite sunflower print adorned a floor-length black gown worn by a model styled with her hair in an Afro.<\/p>\n<p>A silk gown in rich electric blue had a looser-than-normal silhouette and a waist that was tight without being cinched. Thick banding led the eye down to a sumptuous full skirt that gently grazed the floor.<\/p>\n<p>The collection indicated that Saab, who found fame with va-va-voom cinched-waist looks, seems to be moving out of his comfort zone.<\/p>\n<p>And it&#8217;s paying dividends.<\/p>\n<p>\u2014\u2014\u2014<\/p>\n<p>WESTWOOD&#8217;S HIGH PUNK PRIESTESS<\/p>\n<p>Designer Andreas Kronthaler merged his signature urban punk with fresh tribal styles for the Vivienne Westwood show set amid dark brooding light.<\/p>\n<p>The mood seemed to suit Kronthaler: it resulted in a spring collection that moved the house of Westwood in a welcome, more focused direction.<\/p>\n<p>A gargantuan pointed hat &#8211; part high priestess, part Marie Antoinette &#8211; was paired with a bathing suit bodice, a great detail that set the tone for a display of quirky contrasts.<\/p>\n<p>Ethnic jewelry abounded along with knee-high soccer socks. A pale silver headdress billowed fabric ribbons that nestled eccentrically on a pair of loose culottes.<\/p>\n<p>A checkered pattern on loose or gathered skirts cut a fine contrast with a metallic blue double-breasted jacket that had the gigantic round shoulders and glimmer of the 1980s.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>PARIS \u2014 Armed with a battalion of celebrity ambassadors, L&#8217;Oreal took over the historic Paris Mint building to stage a &hellip;<\/p>\n","protected":false},"author":44,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,17],"tags":[],"class_list":["post-232954","post","type-post","status-publish","format-standard","category-news","category-news-w","mauthors-thomas-adamson","mauthors-the-associated-press"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/232954","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/44"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=232954"}],"version-history":[{"count":1,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/232954\/revisions"}],"predecessor-version":[{"id":232957,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/232954\/revisions\/232957"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=232954"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=232954"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=232954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}