Fashion Bikin

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Van Noten, the subtlest of designer, took us on a charming jaunt with this collection, a stylish journey for independent travelers, where the big message was "dapper not dandy."

The show was more literally a journey, as the models took a long jaunt up a delightful catwalk, a cobbled 15th arrondissement parking lot artfully enhanced by several scores of all-white autos, ranging from Bentley, Mustang and Thunderbirds convertibles to a Fiat 850 and beautifully over designed Citroen DS.

Van Noten opened the action quietly with a pair of navy blue suits before gradually injecting color and edge. His big idea was using geometrical patterns and prints in everything from spy trench coats, party shirts and proud poseurs' suits.

"The prints were based on some Italian Thirties ties we found. We made them in polyester not the original silk, and they do have great atmosphere," Dries told FWD backstage.

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It was a cleverly choreographed show, with a long opening section in white and solid black finale. However, it was apparent from the get go that Vuitton's tramp was that rare sort, i.e. one with a private education and a first rate maid, particularly adapt at ironing. Mini mess jackets and crisp shirts in linen are not good items for sleeping rough. Yet the sense of Chaplin was just enough apparent in the baggy, nipped at ankle trousers and slouch hat worn by a particularly dashing casting of models.

Vuitton also looks like it's got a great crop of new bags; even of the presentation was way off. They were obviously empty and made the young men carrying them look far too posed. Yet, other accessories did impress; from the faux war medals in silver with black gros grain ribbon.

And in a season of color clocking - from Jil Sander to Alexander McQueen - Helbers managed to hit the subtlest note with a delightfully cool shirt with shades of rose and lilac with a tuxedo wing collar.

Backed up a great soundtrack by Tindersticks, based on samples the band took from songs composed by Chaplin for "Limelight," the 1952 comedy he wrote, directed and starred in, this was a succinct fashion display, a fine personal success for Helbers

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Inspired, albeit pretty loosely on Charlie Chaplin, the collection used elements of the Little Tramp's look and, above all, his unique insouciance to create some charming and probable clothes.

In an odd introduction, Vuitton's creative director Marc Jacobs greeted the more distinguished guests on the stairway of the Palais de Tokyo, as the men's design director Paul Helbers made the last minute adjustments back stage. Then, after the lights went up and the audience stilled, a last lone guest elicited a huge burst of laughter as he appeared flustered and alone on the runway.

It was a cleverly choreographed show, with a long opening section in white and solid black finale. However, it was apparent from the get go that Vuitton's tramp was that rare sort, i.e. one with a private education and a first rate maid, particularly adapt at ironing. Mini mess jackets and crisp shirts in linen are not good items for sleeping rough. Yet the sense of Chaplin was just enough apparent in the baggy, nipped at ankle trousers and slouch hat worn by a particularly dashing casting of models.

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But an icy blue crocodile skin waistcoat with a kimono collar was a reminder of the flamboyance of the house's founder, who has retired from ready-to-wear to focus on his hugely successful line of perfumes, which include Angel and Alien.

Elsewhere, both Kenzo and John Galliano drew inspiration from India, tapping into the current trend for ethnic-flavored fashion, as luxury groups focus their growth plans on emerging markets to counteract a slump in Western economies.

The theme was treated rather literally at Kenzo. Models whose eyes were smeared with black kohl paraded in silk jackets encrusted with burnished copper coins and feather-light cotton dhoti pants.

Galliano shook up the Indian references (Madras checks and long tunics) with dashes of punk and techno attitude. Models stomped down an asphalt strip in a go-karting venue outside Paris wearing combat pants featuring a zip-off kilt panel in the back.

Young men in full drag queen makeup paraded in swimsuits and pink wigs in an homage to British writer and gay icon Quentin Crisp.

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It made for a pleasant palate cleanser amid the glut of exotica that has invaded the men's spring-summer collections.

"I thought it was perfect," Julian Cerruti, the son of the founder, told The Associated Press. "He has really managed to respect the essence of what Cerruti was and to bring the novelty of his own personality to it."

Tisci took more risks with his Givenchy collection, sending out models in leather shorts worn with cropped leggings and zip-up boots festooned with gladiator-style straps.

He managed to give a kinky edge to everything from a beige rugby jersey featuring a strip of black lace at the chest to a Day-Glo pink lace shirt that revealed glimpses of a full-body tattoo.

Rodriguez kept it simple at Mugler with crisp suits, some featuring contrasting piping at the pockets and lapels, and white combat trousers with zippered pockets.

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Hoa hậu Slovenia. Riccardo Tisci, who has been heading the women's division at Givenchy since 2005, presented his first men's collection for the French label. Spanish designer Rosemary Rodriguez made her entry into menswear at Thierry Mugler, while Cerruti gambled on Belgium's Jean-Paul Knott to revive its flagging fortunes. Countless designers have tried — and failed — to resurrect Cerruti, which has struggled financially since its sale by Italian founder Nino Cerruti in 2000. The label now belongs to private equity firm MatlinPatterson, which intends to revitalize the brand. Knott wisely stuck to what he does best: flawless tailoring. Stripping his palette to basic black, white and gray, he showed crisp suits with conceal

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