The Dutch duo’s couture season offering is increasingly conceptual
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четверг, 28 января 2016 г.
#SuzyCouture: Valentino Resurrects Fortuny's Magic - Vogue
Magic was in the air at the Valentino couture show, in the flower petals strewn on the floor and, most especially, in the slithering, antique velvet dresses. As maidens steeped in grace, long hair caught in gilded jewels of headbands, walked through intersecting rooms, to the music of Debussy's Prélude à l'Après-midi d'un Faune and Lakmé's Flower Duet, the audience — including, of course, Valentino in person — sat spellbound.
This collection probably makes no sense as a retail endeavour — no real day clothes, nothing to wear for a smart summer lunch. But, as a yearning for beauty and an expression of the finest handwork, it was starlit. "The body is free," said Maria Grazia Chiuri, as she and fellow designer Pierpaolo Piccioli went through the "mood board" of figures postured for early modern dance.
Here was Isadora Duncan, there clothing alchemist Mariano Fortuny. Maria Grazia Chiuri announced proudly that the current Fortuny company had worked with Valentino to create new versions of their famous velvets with burnt-out surfaces and painted patches.
The collection was almost entirely an ode to dresses — ones that ran down the body, mostly with a deep "v" at the front. Even when arms were covered, the fabric ran liquid, emphasising body shape and movement. Occasionally, skirts were short and wide, which looked unconvincing. But with the models frequently on the turn, backs bared, dressed just with a rope of adornment, the effect was fantastical.
Floor-sweeping coats, dense with embroidery, were magnificent, although at that point the collection teetered towards costume.
Why not? Every piece was ravishing. And after a season where not only have collections often seemed dull, but the entire definition of couture is in question, this Valentino show was a moment of fashion serenity joy.
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Streetstyle на Неделе Высокой моды в Париже. Часть 3 - Vogue
Вика Газинская в толстовке с Дональдом Даком, Кристиан Лубутен на Веспе и продрогшие легко одетые девушке на ветру
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#SuzyCouture: Galliano moves towards the Margiela aesthetic - Vogue
Step by step, in bold riding boots, the Maison Margiela collection moved forward. First came the blank canvas of white, especially striking in its rendition as a perfectly tailored coat.
Then designer John Galliano shifted towards Artisanal - the range of put-together pieces that Martin Margiela, the house's original designer, had invented as part of his early perception of recycling in the 1980s. For in the Spring/Summer 2016 Haute Couture line, there were fragments of fabric — patterned pieces that could have come from castaway curtains and striped shirts — bunched like clean laundry on the breast of a shirt dress. Galliano seemed much more assured with this collection, shown with a flourish in noble rooms at the Hôtel National des Invalides.
He even inserted a little of that mad make-up from the Dior show years: eyes outlined with a dark star; purple lips painted on the face; and a lot of red hair. Always the showman, Galliano finished off an impeccable double-breasted jacket with a flurry of pink dress at the back, showing off an orange lining from the front.
The brilliant mixes that Galliano used throughout both his personal and Dior years seemed, for the first time, to fit with the Margiela aesthetic. Yet… we have, indeed, seen all these recycling and remaking stories before.
The shirts-on-shirt whispered "Comme des Garçons". Everything seemed like an echo chamber of something in fashion's past. The real problem with the Artisanal project is that it is a merger of two similar skill sets, but with entirely different fashion spirits. Martin Margiela is from Europe's north, the artistic fashion equivalent of the Flemish painters; while Galliano is intrinsically Mediterranean, with the richness of Spanish or Italian art.
The north/south divide seems present in their separate ways of approaching the concept of recycling: Margiela, a dedicated "green" before that title was invented; Galliano a "magpie" decorator.
The new Artisanal collection, supported financially and emotionally by Renzo Rosso's Only the Brave group, shows Galliano moving towards Margiela's goal. But it remains to be seen whether the merger will finally be sealed in this confused period of changing fashion attitudes and fading haute couture.
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