PARIS, Oct 9, 2005/ FW/ --- ‘It’s beautiful, it’s glamorous, it’s based on the 1950s,’ Andre Leon Talley told reporters backstage when asked what he thinks of the Elie Saab Spring / Summer 2006 collection.

His first ever catwalk show for ready-to-wear in Paris, Elie Saab built on his haute couture collection shown last July, once again turning to legendary screen goddess Marilyn Monroe.

Opening the show with a series of all white ensembles that played on volume with layers and ruffles, and silhouettes that follow the billowy curve of a woman’s figure, Elie Saab’s foray into daywear is crisp, soft and understated compared to the more glamorous and ‘look at me’ aesthetics of his eveningwear collections.

Saab, whose pręt-a-porter line is already being carried by Neiman Marcus wants to expand in this market segment as he noted in his press notes. Those premise is supported by his guest list wherein more than half of the front row seats were reserved for retail buyers.

Elie Saab fans and devotees will not be disappointed with the daywear line, wherein masterful cuts and details became the mantra especially that a lone rose that sometimes come bigger than life was the predominant embellishment.

Yet, it was in the evening gowns that Saab exercised a sure hand, as strings of tiny beads became the empire bodice while accordion pleats were worked in as the skirt.

Then there is the very modern wedding gown – Capri length white pants worn with baby doll blouse whose bodice had been beaded and sequined, the front hemline reaching just on thigh level, while the back hemline became layers of train.

Elie Saab

Elie Saab

Elie Saab

Elie Saab