October 06, 2009 Paris
The addition to Mouret's canon of Berber stripes, hoods, tarnished gold-bead jewelry, and strawlike fringing (actually a viscose fiber, soft to the touch) was a timely move. Still, it was carried through in a way calculated not to scare off the body-conscious city-dwelling audience whose mentality and lifestyle he understands so well. In a season of nude illusion and lingerie effects, Mouret also came up with a practical device smartly developed from the "built" underpinning that was the secret ingredient in his famous hourglass Galaxy dress. Now he's selling the underlying power-mesh base as a body-control device in its own right: a skin-toned slip with a zipper in the side. "I think Spanx are great," he said, "until a woman gets home after the party. This gives a guy something to play with."
Mouret's focus on the utility aspects of modern dressing also led him to work out a design for a top—a square of fabric suspended on tapes that can double up as a skirt. That might prove a trickier sell, like some of the draped and folded pannier-shaped ideas he worked into the show. Yet Mouret's general direction—the broadening of his palette to include teal, mustard, and black-and-white jersey stripes, and the new sense of texture and richness in this collection—looked appealing.