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Daily Fashion & Runway News
Christian Lacroix designs clothes that are glamorous, expensive-looking, and unapologetically dramatic. Such an aesthetic implored fame on the French label, which eventually came to epitomize the eighties through the designer's use of sumptuous fabrics (velvet, satin, taffeta) and overlapping patterns (patchwork, stripes), all of which left buyers clamoring for more. However, for such a momentous name in fashion, Lacroix fell into the industry by chance, as he spent his childhood in Arles, France and enjoyed attending bullfighting events, and then went on to study art history with dreams of becoming a museum curator or costume designer. Yet, he was destined for high fashion. Before launching his own line, he was an assistant at Hermès, collaborated with the couturier of the Tokyo Imperial Court, and then joined the House of Patou in 1981. Five years later, he launched his own couture label with the bouffant, or "pouf," a fantastical puffy skirt that soon became milestone in fashion history for its inventiveness. A year later he expanded into ready-to-wear, and then diversified into menswear in 2004. At one time part of the LVMH universe, the Falic Group bought the label in 2005. Though profitability’s been tricky, Lacroix’s pouf skirts, Renaissance-inspired tapestries, and masquerade-ball tulle and lace continue to earn critical praise. His ready-to-wear, which now includes handbags, fragrance, and shoes, can be found in more than 1,000 international stores, including twenty of his own namesake boutiques (New York opened in 2007 for the label's twentieth anniversary), as well as on the bodies of adventurous red-carpet walkers.
“If for nothing else, couture should continue simply to nourish talents like Lacroix. With these collections he fully realizes his ability to come up with ravishing fashion for women who truly love the stuff. His couture designs are luxurious yet keyed to modern times. They are flirty, feminine and just a bit funky. They are clothes for adventuresome women with large budgets and big dreams.”—Carrie Donovan The New York Times
“I've treasured this souvenir of the high eighties ever since, and not just because it was such a delicious spectacle of Ab Fab-ish behavior over a pink bubble skirt. More significant, this was one of those rare moments when you actually feel the tectonic plates of fashion moving-in this case, causing a grinding clash between the monochrome, left-leaning, Japanese-feminist aesthetic of the early eighties and the new, dainty, lighthearted, extravagant Lacroix thing that was sweeping through the upper reaches of Reagan-era society.”—Sarah Mower Vogue
“The flush times of Eighties Nouvelle Society look pretty good right now. And if living the life isn't an option, dressing the part is, thanks to Christian Lacroix, who served up a splendid reminder of all things fun and frivolous for spring. He harkened back to his Eighties heyday, when broad-shouldered, big-haired babes wanted to wear their bucks on their sleeves. Consider the first look out: a white duchesse satin dress that appeared to be a top and skirt thanks to a trompe l'oeil corset, a theme that reappeared throughout in delicate lace or glitzed-up in embroidery. It was part Madonna, part Marie Antoinette, two good-time girls who would certainly appreciate Lacroix's go-for-broke approach to fashion.”—Women's Wear Daily Staff Women's Wear Daily
Christian Lacroix