Футуризм в викторианскую эпоху
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среда, 27 января 2016 г.
«Будущее люкса». Condé Nast International Conference 2016 пройдет в Сеуле - Vogue
В апреле «сильные мира моды» будут делиться секретами успеха с участниками ежегодной конференции Сьюзи Менкес
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#SuzyCouture: Giorgio Armani Privé: Lilac in Springtime - Vogue
"It is elegant — the colour mauve and all its variations; it's for a young woman of class," said Giorgio Armani, who ended his Privé show standing against the palest of purple backdrops, with his black suit the only departure from the all-mauve outfits of the models. "Lilac in springtime" has a certain tenderness — the idea of a new season growing out of barren land.
But the Armani Privé version was more full-on summer: organza wrapped in an airy cloud around the body; and rippling, ruffled dresses in floaty chiffon. And all but a dozen of the 60-piece show looks came with a short, rather than a long hemline. That silhouette included shorts themselves - soft, light and high in a leg that led down to sparkly socks and those little flat boots invented by the late André Courrèges.
Armani's strength is that he makes everything he absorbs intrinsically his own — even the black wigs with a 1940s Hollywood look. "They are meant to look like wigs - this is Merle Oberon," announced Armani, although only half of the audience would know that name, but vaguely. Front row clients of a certain age would certainly get the reference, while others, young at heart, would get the elegant soft tailoring. Charlotte Rampling, up for an Oscar for her role in new film 45 Years, and looking chic in a tailored jacket and pants, knows that one of the dozen long dresses in the Privé show could be adapted to her desires.
Dare we suggest that she could even change the colour? I was impressed by the delicacy of the Privé workmanship: the shimmering surfaces, stripes worked in waves, bias-cut frills. Armani's work is infinitely softer and more natural against the body than when he started the Privé collection 11 years ago. Why the addiction to one single shade? "I wanted a female colour, something soft, not bright - and I wanted to repeat the success of my 'nude' collection," the designer said, referring to his shades-of-beige Privé collection for Autumn/Winter 2013.
I didn't ask if all these pretty pants rippling down the legs could be straightened up a bit; or if a silken wave could be extended to lengthen the hem; or if shorts could be swapped for a skirt. Because I knew that this is the sweet spot of couture, and what makes the "Privé" collection private.
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65-летие Desert Boot Clarks празднует, сотрудничая с художниками - Vogue
Вырученные от продажи арт-проекта средства пойдут в фонд, восстанавливающий жизнеобеспечение в зонах военных конфликтов
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Экологичный кутюр Карла Лагерфельда для Chanel из первых уст - Vogue
Гениальный дизайнер рассказывает почему и из чего была сделана весенне-летняя коллекция Haute Coutue французского Дома и сам удивляется, возможностям его мастерских
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#SuzyCouture: Giambattista Valli's Empire of Prettiness - Vogue
"It's a thank you to Paris — the cradle of haute couture," said Giambattista Valli backstage among sweet-young-thing models wearing high-waist dresses strewn with pink flowers. It might have been an overdose of sugar, but the designer focused on "couture-light" — an ethereal vision of the dresses that bloomed in the Napoleonic era.
I wondered if Giambattista had seen the Elisabeth Louise Vigée Le Brun exhibition — a recent show at Paris' Grand Palais — with its sweet and pretty portraits painted before and after the French Revolution. But "Giamba", as his fans call him, is just as likely to be inspired by his young European Society clients, sitting front row in pairs of friends or as sisters.
What marked out this collection was its sophistication and fine workmanship, done with a light hand: a coat with branches of roses fashioned out of fur; a scarlet ribbon as straps that tied below a minuscule bustline and, above, a cloud of chiffon; a sleeve ballooning into fullness; strappings of sandals criss-crossing the legs below short-and-sweet skirts.Is the world so innocent that these fairy-like creatures have any connection with reality?
The skill and the charm of Giambattista's work is that he makes you believe in this ethereal world. The concept of prettiness — seen in the floral paillettes, daisy embroidery and ruffled silk — is rare in current fashion. And a sombre, bruised Paris is in need of such solace - if just for one day.
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#SuzyCouture: Karl’s perfect harmony at Chanel - Vogue
"Zen," said Karl Lagerfeld as he stood in front of a Japanese-style wooden structure against a backdrop of blue sky after a magnificent collection for Chanel. The sense of calm beauty was also a tribute to nature, with the floor sprouting green grass and inset with channels of still water.
It created a rare moment in today's haute couture, as the clothes expressed liberty, modernity and serenity. Add to that the exquisite work of Chanel's ateliers. Yet, at the same time as that fashion sophistication, there was a feeling for raw nature, with delicately cut pieces of wood as necklaces. Such details competed with the glistening sparkles on outfits that were mostly bulbous at the top, tapering down to a slim, calf-length skirt. All that grace was laced with witty, modern ideas - like the waist bag designed for the smart phones that the audience was brandishing in front of the set to capture images of the models walking the "green" catwalk.
Even the shoes had an updated look - on a platform of cork, they were part classic Chanel, part sportswear, and had the same zest for nature as the panelled house. When, at the finale, all the windows of the wooden building flapped open to reveal the models in their light and twinkling dresses, there was a gasp from the audience, which included the usual host of celebrities and model Cara Delevingne trying to control her dog.
I have seldom associated either Coco Chanel or Karl with nature, but it is one of the strengths of the mighty designer that he captures the spirit of the time. Why wood? Because it represents a greener world. Why bee pattern jewellery and insect embroidery? Because those buzzy bees are under threat. But all these ideas would be empty without the deep collaboration between Karl and the Chanel Métiers d'Art hand-workers, who can create bees out of feathers and a wedding train that mixes wood shavings with beading.
Pallid colours in shades of sugar white, clotted cream, vanilla and beige could have seemed dull. But their variety, abundance and moonlight-on-water glitter kept things lively. So did a pair of blue gowns sweet with meadow flowers. Compared with the "casino" couture Chanel show of six months ago, the difference was chalk and cheese. But it was not just about colour, rather the elevation of thought and the delicacy of stitching.
From the hooped-up buns of hair to the rounded dress shapes, the collection seemed classic, but fresh - and the handwork magical. But even more than the subtle silhouettes and intricate details is Karl's ability to change his vision of Chanel. This season, he captured a beautiful fashion moment.
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