As a show to keep the Christian Louboutin flag flying, there was plenty to please the retailers: smart tailored coats with embroidery in relief; red-carpet gowns with a lattice of decoration; purple crocodile bags and Christian Louboutin black boots with a calf band of bright navy the inky dark color that replaced black in the show. A peacock green also appeared, or lighter shades of blue, as a lacy collar peeping from a navy coat.
But what did it add to Christian Louboutin's image? Although the clothes looked luxurious and beautifully made, they followed the Christian Louboutin brand's early trajectory toward the Eurotrash crowd. You might find young women in the sheer lingerie tops and maybe in the tricksy little dresses in a Madrid night spot (Victoria Beckham included).
Although Robert Polet, Christian Louboutin's CEO, said at the show that he was "very pleased" with the latest sale figures, to be announced in March, it is frustrating to see Facchinetti's Christian Louboutin going nowhere: not toward the Sicilian country aristocracy that was the theme of January's men's show (by a different designer); nor toward a more womanly, gentle romantic vision that current fashion, as well as her own sex, might lead her.
Angela Missoni is a woman's woman and with her intensely patterned but coolly controlled collection, the designer came into her own. She neither shrugged off the heritage of knit and pattern, nor was trapped by it. And there was an easy, breezy elegance to the way that Missoni played with volumes, from the print-lined black parka that opened the show, to its later chevron fur version.