PARIS — Mourners packed into the Grande Coupole at the Père-Lachaise cemetery on Thursday for the funeral services of French ready-to-wear pioneer Emmanuelle Khanh.
Joining friends and family of the designer, who died at her home here last Friday at 79 following a short battle with cancer, were Didier Grumbach, former head of the French fashion federation, Martine Sitbon, Vanessa Bruno and Sueo Irie.
Among the speakers, Claude Brouet, former deputy fashion editor of French Elle, described the outfit Khanh was wearing when she first met her in 1962, saying: “She had such a fresh attitude, in this tiny waistcoat that was longer at the front and a skirt with a slightly dropped waist. I asked where she got her outfit, and she told me she made it herself.
“Then, there were her glasses and her Vidal Sassoon haircut. I can remember her bringing him over to Paris to do a show,” recalled Brouet, adding that it was Khanh who introduced her to Paco Rabanne. “There she was in this mini waistcoat, only this time made from fine gold beads. I asked who it was by, and she said: ‘A Spanish friend who is doing couture jewelry.’”
Cacharel founder Jean Bousquet, for whom Khanh worked as a freelance

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Danish advanced contemporary collection Ganni has photographed a slew of  new faces for a special photography project.
Photographed by Jen Steele, the “Ganni Girl” crew consists of Taylor Warren, Zaga Grau, Coco Baudelle, Fara Homidi, Jess Green, Yum Komatsu, Arianna Margulis, Abby Sierros, Marisa Competello and Lilli Millhiser. They are not all actual models (just Grau and Baudelle), but rather restaurant owners, florists, artists, stylists, makeup artists and a model agent.
The photos, which show Ganni’s effortless street style, will appear on the company’s social media platforms and will be featured on their retail partner’s site, Need Supply Co.
“I’m excited about the increased focus on authenticity and diversity that is happening in the fashion world at the moment, and I wanted to contribute to that movement,” said Ditte Reffstrup, creative director of Ganni. “Women with a personal sense of style and with something to say are gradually earning more limelight in fashion media, and I fully support this more inclusive point of view. At Ganni, we do not work with a specific woman in terms of age, occupation or origin, it’s the real women I see on the streets everyday who I find truly inspiring.”
Headquartered in Copenhagen, Ganni is family-owned and has

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The Diamond Producers Association will capitalize on one of television’s glitziest nights.
The agency — known as the DPA — was established by seven of the world’s biggest diamond mines in an effort to recapture the Millennial market. It is set to air its “Real Is Rare” campaign for the first time, during the Academy Awards.
The commercial, titled “Runaways,” looks to capture the essence of an Airbnb generation. It begins on a farm, trailing a woman in a satin bomber jacket and a man with billowing hair — both frolicking with a rooster. Amid a saucy scene in a ramshackle apartment, a necklace strung with a trio of diamond rings appears on the woman’s neck.
“This is a generation that has never been exposed to a category of [diamond] marketing geared toward them,” DPA chief executive officer Jean-Marc Lieberherr, told WWD at the Real Is Rare campaign launch in October.
“The whole point is to put the meaning of a diamond in perspective. People spend a lot of money on completely disposable things — changing phones every year, spending a lot of money on tattoos for that matter. We live in a world where everything is ephemeral, everything is disposable and completely dematerialized.
“Millennials

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Your front row view, no ticket required.

Director Petra Collins takes us on a magical journey.

Roberta Einer’s charming collection saw the designer render her rich embellishment and detailed embroidery on a lineup of glamorously languid silhouettes. The Estonian-born, London-based designer had been captivated by the heritage of Lisbon on a trip to the Portuguese capital a couple of years ago, and imagined her muse taking a winter jaunt there, circa the Forties or Fifties.
“It’s quite a nostalgic collection for a change, and…in darker shades than normal, because I feel like my brand has become more grown up,” said Einer at her static presentation, where models lounged on a set dressed to resemble a stylish tennis court.
So while there was a sense of the opulence that the designer honed during her time working at Balmain, it was toned down, as if viewed through a sepia-tinged filter. One model wore a calf-length slipdress done in panels of matte sequins in contrasting colors, such as peach, mauve and khaki green, while a chocolate-colored blouse, paired with a sleek leather skirt, was embroidered with glittering flowers in pink, white and turquoise.
Einer also channeled the Art Deco motifs of Lisbon’s architecture, with a graphic, pink and black pattern on a Forties-esque pantsuit, while a hand-painted floral print in tones of

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Chinese designer Anna Yang, who made her Milan debut for fall, brought some star dust to the city with a collection that took its cue from aliens and her own fascination with the 1947 Roswell “UFO incident,” which has spawned a body of conspiracy theories.
Not for Yang, though, scary creatures with antennae or robots on wheels. Her aliens were more of the “Blade Runner” variety — an elegant bevy of ladies with a penchant for silvery fabrics and bright, clashing colors.
“I wanted to mix the silver with the pink because it’s so sweet and soft — I thought that would come as a surprise,” said the designer, who is planning to open her first European store in Milan later this year. She currently sells her upbeat, youthful collections at Beijing’s Galeries Lafayette and via a clutch of stand-alone stores in mainland China.
The collection was one big silver tray of colorful macaroons and other tea time treats: A silver croc patterned jacket sprouted fat pink fuzzy sleeves, while fur chubbies and long coats came in shades of bubble gum, burgundy, tangerine and tomato.
Balancing all of that colorful bulk were sheer skirts — in black, red or caramel — and short, patent pinafore dresses layered over

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