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Eyméric François Haute Couture Spring 2005
Paris Haute Couture Show Spring 2005

Eyméric François: Splendor in the Amazons
By Staff Writer
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Eyméric François PARIS, Jan 26, 2005/ FW/ --- The boy-couturier Eyméric Francois made his entry into Paris fashion week with some unexpected surprises. By the end of his fashion show, the audience was on foot to acclaim he who is considered to be an important part of the future of French haute couture circles.

Francois began the show dedicated to warrior women and mythic heroines from Greek tragedies with his tuxedo. It not only marks the first time that he is designing suits for his collections, it also marks the rebirth of women’s interest in having them, as Francois’ has no masculine attributes to them. His suit in black wool makes a statement that is actually more of a declaration of womanhood. His dress in black Moroccan crepe is unbelievably sexy.

The French couturier proved once again that he is more than capable of creating marvels from nothing at all. His corseted and draped Antea dress in black satin is washed in a sprinkle of the designer’s trademark gold sewing pins. Equally good things must be acclaimed of his Elissa dress in pleated yellow satin. It invokes in me visions of a lovely Elizabeth Bennet meeting Mr. Darcy for the first at a ball in Jane Austen’s Pride and Prejudice. Had Miss Bennet had this dress, she would have placed Mr. Darcy under her love spell sooner and without as much difficulties.

Francois’ Galatea dress in jade lamb’s skin is a deadly knockout. It seems to have been born in the fires of passion. Its lustful effects are on tempered by the Scyna dress, which is a long power blue and satin evening gown made from braided ribbons posed on a corset. A true miracle in elegance!

Although some of us were disappointed to not see in this collection any of his sinfully sexy dresses created from giant zippers, Francois more than made up for it with his splendorous wedding gown.

This Antiope dress is composed of the designer’s zippered bustier and tulle. It is as modern as the boy-couturier’s imagination, yet respects the codes of tradition. It makes women say, “Isn’t it good to be a woman!”

 

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