This article is from the source 'nytimes' and was first published or seen on . It last changed over 40 days ago and won't be checked again for changes.

You can find the current article at its original source at http://www.nytimes.com/2013/09/27/fashion/Word-Play-at-Undercover-Show-in-Paris.html

The article has changed 2 times. There is an RSS feed of changes available.

Version 0 Version 1
In Paris,’ Time of Rage’ In Paris, ‘Time of Rage’
(about 2 hours later)
PARIS — The rigorous modernity at Undercover brought the thoughts of the designer Jun Takahashi literally to the forefront of his creations. Capital letters on square-cut tops might announce “I am here” or, more likely, contrasts like live/evil, dog/god, cruelty/splendor and trust/demand.PARIS — The rigorous modernity at Undercover brought the thoughts of the designer Jun Takahashi literally to the forefront of his creations. Capital letters on square-cut tops might announce “I am here” or, more likely, contrasts like live/evil, dog/god, cruelty/splendor and trust/demand.
This was not T-shirt country, but something hypermodern. The designer printed the words like text messages on a bag worn as an armband or, for the finale, in digital lettering that spelled out “time of rage.”This was not T-shirt country, but something hypermodern. The designer printed the words like text messages on a bag worn as an armband or, for the finale, in digital lettering that spelled out “time of rage.”
Mr. Takahashi has always had that “undercover” feeling of unease associated with his clothes. This collection seemed particularly direct and poignant as the messages were embedded in clothes that were both dynamic and wearable. Without making a lot of noise, Undercover has something important to say.Mr. Takahashi has always had that “undercover” feeling of unease associated with his clothes. This collection seemed particularly direct and poignant as the messages were embedded in clothes that were both dynamic and wearable. Without making a lot of noise, Undercover has something important to say.
The Rochas fairyland was an absolute contrast: the pastel palette of ice creams, a ripple of frills and a flutter of feathered slippers. It seemed as though Marco Zanini, in his final collection for this label, had brought out his latent talents as a pastry chef. His frilly frolics included ruching like sugar icing done by an intoxicated chef.The Rochas fairyland was an absolute contrast: the pastel palette of ice creams, a ripple of frills and a flutter of feathered slippers. It seemed as though Marco Zanini, in his final collection for this label, had brought out his latent talents as a pastry chef. His frilly frolics included ruching like sugar icing done by an intoxicated chef.
This intense femininity was witty and charming. And, as the designer will be required next season to bring wit and energy to the Schiaparelli fashion line, maybe this was a practice run.This intense femininity was witty and charming. And, as the designer will be required next season to bring wit and energy to the Schiaparelli fashion line, maybe this was a practice run.
The sensual severity of Felipe Oliviera Baptista was intriguing: hemlines softly sweeping the floor from a sharp line at the hips and with a sense of naked skin underneath; or shorter, sharper dresses, sometimes with abstract patterns that looked like camouflage and gave a sense of military chic.The sensual severity of Felipe Oliviera Baptista was intriguing: hemlines softly sweeping the floor from a sharp line at the hips and with a sense of naked skin underneath; or shorter, sharper dresses, sometimes with abstract patterns that looked like camouflage and gave a sense of military chic.
The key to the collection was utility: the feeling that all the clothing, without any single or obvious theme, was based on military wear, yet destined for a modern woman.The key to the collection was utility: the feeling that all the clothing, without any single or obvious theme, was based on military wear, yet destined for a modern woman.
With the puff of a feather headdress, Gareth Pugh turned his rigorous geometry into something much softer — give or take a molded bustier that had a flourish of the designer’s earlier sculptural style. Mr. Pugh said he had created it at home with a mannequin, a blow torch and a sheet of plastic, and had included some wrinkles “to give a little chink in the armor.”With the puff of a feather headdress, Gareth Pugh turned his rigorous geometry into something much softer — give or take a molded bustier that had a flourish of the designer’s earlier sculptural style. Mr. Pugh said he had created it at home with a mannequin, a blow torch and a sheet of plastic, and had included some wrinkles “to give a little chink in the armor.”
“It was meant to playful and chic, womanly,” said Mr. Pugh, whose collection was positively elegant, with its long, sweeping dresses and shoulders that had gone from square to the roundness of a compass twirl. Emerging from the carapace of costume that has been the Gareth Pugh staple, this show seemed like a forward march.“It was meant to playful and chic, womanly,” said Mr. Pugh, whose collection was positively elegant, with its long, sweeping dresses and shoulders that had gone from square to the roundness of a compass twirl. Emerging from the carapace of costume that has been the Gareth Pugh staple, this show seemed like a forward march.