Paris Fashion Fights For Lacroix

Lacroix was forced to economise on fabrics and materials, putting all his couture skills into creating the reduced collection.

Christian Lacroix staged what could be his last haute couture show in Paris on Tuesday, displaying a stripped-down, mostly black collection put together with the help of friends and artisans who worked for free.

Since the loss-making fashion house was placed under creditor protection more than a month ago, the small community of couturiers, clients and artisans has been abuzz with talk of what this means for the world's most exclusive fashion scene.

While some designers such as Giorgio Armani defied the tense mood with opulence and optimism, Lacroix was forced to economise on fabrics and materials, putting all his couture skills into creating the reduced collection.

"It was like a firework even if it was black," model and muse Ines de la Fressange said after the show just next to the Louvre, surrounded by fashionistas wearing badges saying "Christian Lacroix forever".

Like many industry insiders, she worried about the effect of Lacroix' woes on the "petites mains" -- the dying breed of artisans whose skills make Parisian high fashion special.

"It's fine for Lacroix, it's his talent and he's going to keep it ... it's a pity for all the people who've been working for him, especially people doing embroidery, feathers. In Paris, they still exist," she told reporters.

"NATIONAL TREASURE"

Lacroix, who invented the puffball skirt and has charmed audiences with colourful, frivolous shows, placed an untimely bet on high-end ready-to-wear and was hit particularly hard by a sharp drop in U.S. sales.

Bought in 2005 by a Falic group, the fashion firm is now struggling to find a buyer who could turn it around.

U.S. clients in Lacroix dresses, including mothers who flew in with their daughters to show their support, still had a strong presence at the show.

The collection of demure black dresses with lace inserts or fur collars showed the subtle side of couture, while a bridal gown embellished with flowers and gold embroidery, topped with a Spanish-style mantilla, made for a dramatic finish.

"He's a national treasure of France and as such, for haute couture, should be saved," said Patricia Rossignol, a client in a black Lacroix dress who had flown in from Florida. "He's a key person in the fashion industry and hopefully he will continue."

At Giorgio Armani, there was a brief nod to business in the shape of black and grey 1980s power suits, with peaked shoulders to give those recession-stressed career women an extra edge.

But the overall mood was unabashedly dreamy, with velvet bomber jackets, rhinestone-encrusted mermaid dresses, sequinned bustiers and plunging necklines.

Armani's empire has not been immune to the crisis and sliding U.S. sales in particular, but his multitude of different brands has left him with greater room for manoeuvre when it comes to shoring up expensive units such as haute couture.

With actress Cate Blanchett in the audience and a champagne reception at the Musee de L'Homme next door to launch his new perfume, Armani seemed confident he could weather the crisis.

"When people open the newspaper they want to look at the pictures and dream," Armani, who had swapped his trademark black T-shirt for a white shirt and tie, told reporters after the show at the imposing Palais de Chaillot across from the Eiffel Tower. "I wanted to do something to make people dream."