The London Girl.: Paris Fashion Week - Veronique Branquinho Fall 16

They stalked the catwalk like the ghouls and ghosts found in the grave yard at midnight - defending themselves in an array of sequins, utilitarianism and chiffon - the utilitarian Glamazon Goths of Veronique Branquinho. One could be fooled into think that Paris and Fashion Week equates to extravagent beauty and ultimately the "Je Ne Sais Quoi" that Paris is known for. Think Again.

We took our places, and the lights went down. Suddenly, the atmosphere was set by the a gong. And there they were. Two skulking runway models walked down in floor length tunics, accompanied by what can only be described as Elizabethan neck collars, with faces as white as death and hair loosely flying around the face. In a twist to the primarily gothic beginning aesthetic, sequins embellished the idea of victorian horror, turning it on its head and making death seem glamorous.

In a nod to monk robes, hoods laid over the models heads, creating a shadow over their already white faces, religion against fashion.. a contrast heavily noted through runway history. Chiffon and mesh floated around the models movements as they stalked the whitened floor, masking the glitter of black sequins that added a modern dimension to the embracement of religion.

And then, look 16. A change in tone, a change in feel, death embrace utilitarian, an aesthetic of camouflage and ease progressed the collection. But the idea of death and creating a disguise that is ready for battle, what were these ghouls fighting against? Slowly, camouflage developed into muted navy and grey tones, a splash of leapard print here, a silk ribbon there, suddenly our girls were the "every woman", the woman of the countryside building a life with her family. A essence of 'buyability', but nontheless developed, could it be Branquinho showing an awareness of the current industry development into the idea of being wearable?

This idea only lingered for a few seconds however, as once again, the aesthetic moved forward into neatural tones of cream and white, a collision of both the past and the future, with sleeveless bomber jackets opposing white, chiffon blouses and floor length skirts. Elizabeth in sports mode.

To conclude, our girls walked to their ending, dressed back into their black and sheer mesh and chiffon, but this time, built and layered, as if they have become stronger and have an experience to tell from their very first walk.

Could it be that Branquinho wished to show the developement of the woman through history? From an era of murder and religion, to a time of ease and tranquility, to a idea of futurism and glamour? Were we the audience of a trip through history, embodied into garment creation? One will never know, as what exists in a designer's mind is that of what story books try so hard to portray. But here's to you Branquinho and your haunting Utilitarian Glamazons of Paris.