Christian Lacroix harked back to his southern French roots for his bright and elaborately-crafted haute couture collection unveiled on Jan. 24, while Riccardo Tisci's talent for structure offered elegance tinted with romanticism at Givenchy.

"Back to Lacroix basics" was how the designer described his approach to his 38th collection for a result that was romantic yet modern, chic, as well as effortlessly littered with southern references.

"A kind of starting up again, of rebirth", he said after the show. Luxury goods group LVMH sold Lacroix's label–which it launched in 1987–to the Falic Group, the second-largest US duty-free retailer, last year.

And, explained the designer, he had sought to "recapture the energy that appeared in 1987" after his first show. "The sun, carnations, roses, prints, they can be forever revisted."

Emerging from behind a huge old engraving of the town of Arles, models sauntered along golden sand as the decor aimed to create warmer climes inside Paris' Fine Arts School than outside.

It worked. The thermometer immediately soared with a stunning flounced trench coat in red taffeta woven with fuchsia roses, while a small Provencal jacket was stamped with garlands and bouquets.

White satin 'matador' pants were painted with pink and gold patterns, and a black organza 'bull-fighter' jacket with antique gold embroidery paired with a white organza dress was striking.

Black Chantilly lace accentuated different parts of the garments; one of many examples of the exceptional savoir-faire that went into crafting the couture collection.

Lacroix, a long-time favourite of the Paris fashion crowd, received a standing ovation as the audience threw the red carnations that had been placed on each chair on to the runway.

Givenchy's young Italian artistic director discarded the catwalk, instead showcasing his clothes at the Bourdelle Museuem of paintings and sculptures where models posed in different rooms as visitors passed by.

Tisci's vision for summer featured masculine wide black pants, striped, with rose motifs or in black lace re-embroidered with ostrich feathers.

They were paired with a pleated and draped shirt, a richly embroidered bustier or yet, a white jersey bustier draped with flowers.

Dresses hung asymmetrically, while a long strapless gown in white silk satin was teamed with a cape, but leaving shoulders bare. Pleated tulle frocks were khaki. Blouses were adorned with white porcelain pearls.

The colour red, already widely seen on the first two days of catwalk couture shows, wrapped up the Givenchy look, with sequin- and crystal-embroidery and bodices sculpted with tulle roses or in red chiffon.

For his collection, Dominique Sirop seemed focused on structure–often vividly colourful fabrics were elaborately folded, pleated and draped, ruched and ruffled, tucked and nipped.

His 'mermaid-esque' dresses, long, strapless and slender, kicked out at the knee, and in bubble gum pink and yellow were not for any shrinking violets. A lime and bottle green polka dot provided a rare pattern.

Strong colours were paired with striking effect and large pearls swirled around a marine turquoise and green dress, puffed at the hem. For the finale, a cloud of white tulle was impressive. The bride was wrapped in frothy ruffles that lengthened to a dramatic train over a shapely satin dress.

For his debut on the official couture calendar, Christophe Josse, formerly right-hand man of Rose Torrente-Mett, founder of the now-defunct Torrente house, offered low-cut dresses that were often transparent, frayed or embroidered in mostly white, sand or black.

Haute couture shows for spring/summer are due to wrap up here today with France's Jean Paul Gaultier and Lebanese designer Elie Saab.

by Dominique Schroeder and Kate Millar, Copyright 2006 Agence France-Presse

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