PARIS, Mar 5, 2007/ FW/ --- On a runway of only black lacquer, the Elie Saab show started yesterday to the sound of Madonna’s voice whispering: ‘The Show is just starting’. To a soundtrack consisting only of excerpts from the performer’s last live show, the Lebanese designer surprised us with a completely new silhouette.

The first set - only black looks all with hemlines at mini-skirt length and seemed so appropriate for a younger clientele in this atmosphere of disco remix. Energetic shimmers were more provided by the lacquered fake black leather than his usual sparkle of rhinestones.

Crystal was present though, of course, but only in black jet here and it was more used this time in large patterns to underline the futuristic armour effect on some body part, rather than the now chichi, soppy use of sprinkled sparkles all over the body.

This is only Elie Saab’s fourth ready-to-wear show, but it is certainly his most achieved statement in this category. The silhouette is younger, the tailoring stronger, the style empowering.

Collection after collection, Elie Saab has learnt the secrets of sleeves. Hardly present in his very first couture runway shows, they have gradually appeared in his collections, giving his creations more allure and authority. It must be that the inspiring walls of the former house of Torrente, where Elie Saab has recently moved to work in, have whispered in his ears a secret or two: the mounted sleeves puffed on the lower arm and tied on the wrist certainly displayed a genuine technique of a master tailor in that tradition of excellence.

Excellence is here too in the rich fabrics cleverly paired in the collection: silk chiffon and shiny taffeta. Lurex denim and lace inlay, velvet bustier and satin knot, shantung mixing with organza.

The classic fabrics of luxury are here assembled on the body to create new shapes with a marked waistline, tied with a wide belt or waist-tightener of contrasting material with a strong induction for a modern finish.

The second part of the show was probably more reassuring for Elie Saab’s traditional customers. Long sequined purple sheaths, sleeveless floor-length evening dresses, embroidered with pearls and black flakes were more expected. They were the just ready-to-wear rendering of Elie Saab’s last haute couture in different tones: prune purple and deep green.

As the show went along and lost in style strength an innovative spirit, editors and writers, whose time is precious, were wondering why Elie Saab was giving us a show with 57 exits, when 40 would have been more than enough to make a strong, effective statement about his new ready-to-wear.

The designer’s desire for opulence is certainly generous and I am sure he is trying hard to satisfy both press and customers. Nevertheless, if the press is glad to mix and meet with the house’s clients at haute couture shows, where their attendance is a good sign that the house is selling, Elie Saab still has to learn that Paris-ready-to-wear shows have to make a short, strong, innovative statement.

A ready-to-wear show, particularly in Paris, directed to the press and buyers, needs to be carefully edited and excellence is more required than large numbers. The first half of the show did it yesterday. This is also why it is best, in my opinion, to keep the customers where they belong, that is… in the shops.

However, Elie Saab’s ready-to-wear third runway show left a landmark on the Paris calendar as we all discovered that he could make wonderful club wear for the young and the hip.

As Olivier Theyskens’ debut collection for Nina Ricci was showing just before at another venue, it could have been expected that attendance to the Elie Saab show would be lesser that on previous seasons. But this did not happen. Elie Saab unveiled his Fall 2007 collection to an SRO crowd.

Elie Saab

Elie Saab

Elie Saab

Elie Saab

Elie Saab

Elie Saab