The Elie Saab show started on a promising note. First he switched up the mise-en-scène, trading in the nightclub-y mirrored runway for a plain, white-planked version more befitting the early hour. Second and more importantly, he put a big emphasis on daywear, specifically forties-esque sheaths in powder gray with topstitching that sculpted ladylike curves into the models waifish frames. His high-waisted skinny black pants and little bolero jackets with fur and feather detailing were glam, but in a lower key than he usually operates in.
That clarity of vision faltered a bit when it came to after-dark dressing. Saab has several different markets to satisfy—Hollywood, the Middle East (he s a native of Lebanon), and fashion land—and he trotted out something for each constituency. In order: red-carpet-tested goddess gowns; structured bustier dresses, including a vivid purple number with a single long sleeve; and black crystal-embroidered minidresses and leggings that were almost rock n roll. The evening section could ve been cut in half, but even if this show didn t end as strongly as it began, it was still something of a happy surprise from Saab.
