PARIS, Jan 24, 2007/ FW/ — Showing in the off calendar for at least the seventh season in a row at Paris Haute Couture, Georges Chakra has a better level now than when he started to show in the City of Lights. And the collection he sent on the runway yesterday afternoon was certainly one that can sell to a younger couture clientele and might leave its mark in the Lebanese house’s history.
If his few sleeves could still get better, the structure of his garments has reached a reasonably good level even though they do remain quite classic in their architecture. But after all, style and chic are not always a question of innovation. If his rhinestones remain too flamboyant to western delicate eyes, Chakra’s proportions were simply good, particularly in his new set of baby-doll dresses worn on tulle tutus that give a real edge to his looks for the modern girl with legs that can be displayed.
It could be that the honour of having an excerpt of one of his previous fashion shows in the blockbuster movie The Devil Wears Prada (like no less than Valentino) has changed this houses’ s perception and destiny.
Talk about a good brand placement! With the added Hollywood sunlight, Georges Chakra is shining more than ever before this season. Could he learn to tame slightly the sparkle of his crystal embellishments, he would certainly be more successful with American and European more discreet clients.
Although his long sheaths displayed less creativity and allure than the shorter set of dresses (too little tulle at the bottom of a bronze evening dress with camisole straps for instance), his colour chart for the season was coherent throughout the collection and joyful without being aggressive. Icy pale blues mixed well with fading yellows and a touch of pink here and there added up to the general good mood.
However, his embroideries would deserve to be executed with more attention to detail and with more know-how to make them look and feel lighter. When bands of ready-to-stitch embroidered fabric are sewn on the garment, they always create a certain heaviness that does not pay tribute to the tradition of genuine Parisian couture. Strategically placed as they were in the collection to underline the geometrics of the pieces, they still could have been little more airy in Georges Chakra’s dresses.
The House’s otherwise splendid creations seem to lack only one important element that could be easily dealt with if a fruitful collaboration started with the Paris embroiderers (Lesage, Monteix, Cécile Henry to name a few). Only then will it be reasonable to think that “The Devil” might “Wear Chakra”.
[JEAN PAUL CAUVIN]
Illustration courtesy of Georges Chakra Couture
Paris Haute Couture Spring 2007