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среда, 6 июля 2016 г.
Aouadi осень-зима 2016 - Vogue
Молодого кутюрье Ясина Ауади вдохновил Кафедральный соборная мечеть Кордовы — римско-католический собор, а в прошлом мечеть — как символ мира между двумя религиями. Его бесчисленные арочные своды и мозаичные орнаменты нашли отражение в форме и декоре вещей
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#SuzyCouture: Dior's Future, In Black And White - Vogue
Friday is D-day for Dior, when the Paris couture house will announce its new designer, according to a high-up executive in the LVMH group.
The choice is expected to be Maria Grazia Chiuri, part of the duo which has breathed new life into Valentino. That Italian company shows its couture collection in Paris on Wednesday.
The need for a strong, fresh design spirit was evident at the Paris show, held in the company's historic home on the Avenue Montaigne. The Swiss design duo Lucie Meier and Serge Ruffieux spelled out in black and white — the only two colours they used — why neat and tidy fashion is not enough in these days of superbrands.
Even Dior's people seemed to think the show needed a little hotting up, as they invited Céline Dion, who sat next to Bernard Arnault, Chairman and CEO of LVMH, and veteran French rock star Johnny Hallyday.
There was nothing wrong with the show - and much that was right — if couture were only about elegant clothes. Today, couture is also the scaffolding on which the vast edifice of a big fashion company must be refurbished, each season.
Meier and Ruffieux built this collection on the foundation of the shapely 'Bar' suit; the duo called it the 'beating heart' that 'punctuated the entire collection'. That famous silhouette was then reinforced by the use of black and white - and only those two 'masculine' and 'feminine' colours.
The choice of fabric and textile did create some beautiful variations on this monochrome theme, especially the gradations from snow-white to cream. Different fabrics also varied, with the ebb and flow of their textures.
It seems today that each Dior collection stands in the shadow of the designer that went before. So Raf Simons, who left a year ago, had to pit his Minimalist leanings against the extravagant romanticism of John Galliano.
Now the current pair has to give Modernism a reality check, without making the results too dull. And the new designer will inevitably compare herself to all those who have gone before — including Monsieur Dior himself.
This Autumn/Winter show was pleasing, often breaking into two the pieces that made up a hip-length black top, perhaps curved up at the back and worn over a full skirt or, occasionally, soft trousers.
The success of the show was its sense of movement, so that a top would swing and a skirt flare. For once, the word 'wearable' never seemed 'yawn!' but rather a reality check on what clients would want to wear.
To the simple, start-off styles there were some gilded accessories and an occasional snaking Paisley pattern in black and white. Embellishment became more intense - although still in a single golden colour - as the show moved forward. The workmanship was was fine, but still created three-dimensional floral effects. Whatever way, the collection was an homage to les petites mains or 'tiny hands', as the workers are known.
I thought this winter couture collection might have had a bigger focus on outerwear and tailored coats, although there were a couple of charming fur shoulder pieces.
The show will surely have success with clients who will find Dior fashion with a light touch. But for now, at this important house, there is currently an uncomfortable sense of: "Next!"
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Джона Гальяно разбушевался: Maison Margiela Artisanal осень-зима 2017 - Vogue
Пираты, женщины-медузы, мурены, рукава-мухобойки, рыболовные снасти и капитан Дэйви Джонс. Вивьен Вествуд посторонись!
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#SuzyCouture: Schiaparelli: Enlivening The Circus Of Couture - Vogue
The wall was papered with the patterns of Picasso's harlequins. The dresses were decorated with designs from Salvador Dalí. But the message from Schiaparelli this season is the rebirth of its couture.
Design Director Bertrand Guyon looked back to the Surrealist brand's heyday, and particularly Schiap's Circus Collection of 1938. But sharp tailoring, soft dresses and intense craftsmanship made the clothes seem modern.
Like actress Laura Carmichael — Lady Edith in Downton Abbey, now sat front row in a short Schiap summerdress — the designer has the ability to be immersed in a brand's history but also make it seem current. Especially if you like jesters' fancy pants.
"After two collections, I wanted to do the Circus - but it is not so literal, it's more about craft," said Bertrand, admitting that the idea of the 'sad clown' had inspired his use of black and Schiap's favourite navy.
The moodboards backstage showed many inspirations, from Toulouse-Lautrec paintings to those clowns. But it was as if the historic subjects had sunk into a bowl of water with only elements floating on top: hence the Dalí eye as just a brooch on a black suit; or the constellations — and even an embroidered peacock — under control.
It was a pleasure to see Schiap's sunburst cloak, which so fascinated Yves Saint Laurent, now played by Bertrand as bold decoration on a plain jacket. And it is not hard to understand why so many celebrities at recent events have chosen this brand as a purveyor of elegant clothes with a witty twist.
Significantly Diego Della Valle, who bought the house of Schiaparelli nine years ago and finally has it on track, told me he is aiming to expand the brand's reach with three ateliers across the world — and also to create a 'demi-couture' range for private clients.
"I believe there is a place for this," the executive said, when questioned in a courtyard where the doorway was bright with Schiap's signature shocking-pink flowers. It may have been a long haul but there is no doubt, after this fine collection, that Bertrand Guyon can resuscitate brand Schiap.
Ulyana Sergeenko: Soviet thaw
From the moment I stepped backstage, I knew that there was something different about Ulyana Sergeenko's show, for her hair was cropped into a mannish bowl. Even though she then told me that it was a wig, I could sniff the difference between her former romantic vision of Russian women, and what she called in her show notes 'Khruschev's Thaw'.
So the models were dressed to stride out in a new Soviet world of lean, sporty clothes, from bodysuits to mini-skirts, topped off with space-rocket helmets — as interpreted by the incomparable milliner Stephen Jones.
Nevertheless, Ulyana could not quite leave behind her wistful vision of the vast Russian countryside, which delivered floral patterns and fur coats with with a splash of colour burrowed deep.
I admired the collection more when Ulyana explained her concept. "It's a tribute to the dreams of our parents, to their youth and its new character," the designer said.
"Think of a young and very intelligent girl from the Soviet past. We're told it was a very different generation because they didn't care about money, they just wanted to make their country better. Not just better — the best country in the world."
It was clear that, for the designer, this show was personal as she talked about her mother, a teacher, and how the first model that walked out came from her own native roots in Kazakhstan.
I regretted that Ulyana's fashion storytelling had taken a less romantic route. But I admire her eagerness to push forward on her own, and her country's, dreams.
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Гости бранча Vogue на крыше универмага «Цветной» - Vogue
Анка Цицишвили, Виктория Давыдова, Мари Коберидзе и другие парфюмерные гурманы на запуске аромата Comme des Garçons Grace by Grace Coddington
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#SuzyCouture: The Highjacking Of Haute Couture - Vogue
As models — but not famous kind — raced round the fashion department of Paris store Galeries Lafayette under its Art Nouveau cupola, fashion's tectonic plates seemed to shift.
Vetements, the subversive brand of so-called 'ordinary' clothes, had taken over hallowed haute couture with elegant mannish jackets, but on women, and with shirts — Comme des Garçons shirts — showing flesh below the chest. Most strikingly, Manolo Blahnik boots in satin, with his signature bleached into the side, rose not just thigh-high but right up to the waist. It made for a dizzying and dramatic fashion collaboration.
Demna and Guram Gvasalia broke every code in the lexicon of designer fashion and came up with a dramatically successful result. But did they set out to be disruptive?
"For us, it was that we wanted to show in the period of haute couture — so we chose the best manufacturer for certain products, whether it was a shirt or a shoe or a leather jacket," said Demna backstage.
"This know-how was maybe our view of haute couture — because we don't do draping and things like that. It was replaced with the skills of the people we collaborated with."
The logic made sense: take a decision to show the October Spring/Summer show three months earlier than usual, and a collaboration with established brands could make it happen.
Guram, the younger brother and business guru, was tasked with approaching brands as holy as Levis and Blahnik, as populist as Juicy Couture and as elegant as Church's and Brioni (although the latter menswear brand is going through a hipster transformation of its own).
The idea seems as audacious on paper as it was logical on the 'runway', which followed the circular centre of the store. The clothes followed a pattern of oversized and crooked, which is the Vetements look by way of their early work with Martin Margiela. But there was so much more: the current gender mix, showing off-kilter tailoring, denim onesies or subversive sexiness in leather. And even when logic might call for Dr Martens (another collaborator), there were those waist-high Manolos with pearly finishes in bright colours - a new version of Sex in the City. Yet amongst all that, Vetements kept its own floral freshness with a couple of pretty dresses, as worn by Lotta Volkova, muse of Vetements.
There were several insider stories: the sweat tops dedicated to Antwerp, where Demna (and Margiela) were trained. But mostly the collaborations were straightforward and made up a comprehensive collection — something to give the audience food for thought as to how designer fashion, street style and haute couture are defined in this ever-changing era.
"That was the challenge," said Demna, referring to the collaborations, but perhaps also to fashion itself. "To find something that was a balance between their know-how of their product, and twisting and sometimes destroying it."
Atelier Versace: subtle revelations
The way the models walked at the Atelier Versace show — following geometrically straight lines and ultimately coming together in a square — was in contrast to the show itself, which was all about voluptuous curves.
"It's about a woman revealing her power and allure," announced Donatella Versace in the backstage mêlée, which included Naomi Campbell and Golden Globe winner Jennifer Garner trying to keep one high-heeled step ahead of the photographers.
Donatella told me that this made-to-order collection will reach the end of its second decade next year. It has always been a glam brand — one that was born for the rise of the red carpet. In contrast to last season's Atelier Versace, with its theme of 'athletic couture', there was no sense here that the Versace woman would do much before the cocktail hour. Although curving tailored coats in strong and sweet colours offered elegance before the drama of the draping.
With a new CEO, Jonathan Akeroyd, joining Versace from Alexander McQueen, I had perhaps expected a softer, more gentle Atelier show. Here, to prove that the collection lives up to its name, a workshop — or atelier — was positioned within the building where the show was held.
This was goddess glamour, with a touch of sweetness in lilac and pale turquoise colours to soften the fuchsia and rose-red. The story had two prongs of shape and drape, although 'prong' is not the right word to describe dresses — occasionally short, but mostly long — that had swooshes of silken fabrics escaping from a taut silhouette.
The effect was lustrous but, as Donatella said, powerful. Her strength for the brand is that this audacious sexiness is rarely found elsewhere at high-fashion level.
And though the designer herself took a brief bow in a tailored black trouser suit, the runway dresses, with a trail of blue satin belt at the back of a skinny pink dress or ripples of pleating at strategic body points, meant that Donatella's aim of 'seductive woman on the move' was mission accomplished.
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