Elie Saab

Elie Saab named his Spring collection Color Shock, and though he opened with a group of pearly pales, he soon segued into more vivid shades in the bright thread he began for Resort. That collection scored him big at the Emmys a few weeks ago; Kate Winslet wore his clean-lined but clingy scarlet gown. It stands to reason that many of these HD-ready, eye-catching dresses—in particular, an emerald plunge-neck style with snaking trails of sequins and the plummy chiffon number with tiny lace cap sleeves—will meet a similar Ryan Seacrest-discussed fate.



Saab's biggest evening statement was sequins, which came graduated and rippling or set into plissé pleats. When he went unembellished, the drama came from languid and floaty seventies-ish silhouettes with tie necks or sexy asymmetrical necklines and up-to-there slits. The third building block was lace, which was actually most interesting when it was barely detectable, set into seams of neat wool daywear dresses.

Saab has probably the only ready-to-wear show with a separate line outside for clients. It's for them that he cycles so extensively through his chosen palette, repeating near identical styles. They may eat it up, but as usual the editorial set got a little glazed over. The only shock was the natural wonder of Karlie Kloss' legs closing the show.

Can it really be nearly ten years since Elie Saab caught the world's attention when he dressed Halle Berry for the Oscars? Of course, it was actually Halle who bagged the eyeball time, because Saab let her let it all hang out. My, how times have changed. Sure, there was plenty of décolleté, and sinuous limbs slipping out from skirts that were, at times, almost too split, but what today's show really evoked was the up-to-the-neck missy-ness of Norma Shearer, an Oscar winner from centuries ago. One long tulle and organza gown, piled with flowers at the shoulder and tied with grosgrain at the waist, would surely have driven La Shearer into a paroxysm of desire. Coupled with the exceptionally sweet hair and makeup, this peculiar sense of propriety took Saab's collection into territory that was new for him. It was certainly a world away from the sparks struck by his last Couture show. Just look at the bride—last time, she shimmered with hints of gold. Here, her gown drooped with organza flowers and tatters of mousseline, and her veil was almost shroudlike. "Miss Havisham," suggested one waggish onlooker. Now that's a role that could win a woman an Oscar.