Schiaparelli
Despite the absence of red carpets, the couture master Daniel Roseberry has no less work. For example, on January 20, he gathered Lady Gaga for the inauguration of the new US President Joe Biden, creating a fitted black jacket, a fluffy red skirt and a gold Dove of Peace brooch, the photos of which immediately flooded the Internet. The creative director of Schiaparelli justified such close attention with a new collection, in which he used non-obvious references to the work of the founder of the French fashion house. Hand-painted calfskin dresses, corsets and bags and exaggerated female body reliefs reminded of Elsa Schiaparelli's Pascal and Pascaline mannequins, which she kept in her salons. The cape, with imitation hair made of three-dimensional gold, appealed to the 1938 hooded veil. And massive details and jewelry - whether it's a pierced nose on a clutch or glasses passing into earrings - became a tribute to Schiaparelli's collaboration with Salvador Dali, with whom they created surreal outfits and decorative elements.
Interestingly, there were practically no heels in the collection: the Schiaparelli woman stands firmly and confidently on the ground, openly demonstrating strength and superiority through sculpted bustiers and tight-fitting dresses. “If you want to look like a cake, you can turn to someone else,” commented Daniel Roseberry on his approach to couture.
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Ulyana Sergeenko
Perhaps one of the main achievements of the Russian designer Ulyana Sergeenko over the ten years of existence of the fashion house of the same name is working with Russian folk crafts. She managed not only to take out the Rostov enamel, Yelets lace and krutka stitching from local factories to the Parisian catwalk, but also to prove that they can not look old-fashioned and decorate expensive couture. With each season Sergeenko draws attention to more and more crafts. Thus, for the first time, the employees of Kadomsky Veniz, who created diamond-shaped lace details for evening dresses, and the Gusevsky Factory, who supplemented outfits and accessories with miniature elements made of cut crystal, worked on the spring-summer couture collection.
The delicacy with which the craftswomen weaved on bobbins or painted the monogram "US" on plates is demonstrated in a short film, which also shows ready-made images. This time they were united by the Art Deco era, which is actually more in tune with ours than it might seem. In the 1920s and 30s, she responded to the festive thirst for World War I, responding in luxurious interiors and outfits. Ulyana Sergeenko remembered the symbols of those times - from the Empire State Building in New York to the pavilion of the Aeroport metro station in Moscow, as well as the silent film actress Vera Kholodnaya, whose style was embodied in black lace and white draped dresses.
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Dior
In the wake of a successful collaboration with Matteo Garrone, who shot a fairy tale film for the presentation of the previous Dior couture collection, which gained almost 1.5 million views on Youtube, the creative director of the French brand Maria Grazia Chiuri again turned to the director for help. He released jesters, priestesses, magicians and other mythical characters from the snuffbox, which can be found not only in fairy tales, but also on Tarot cards. Maria Grazia, impressed by a deck of Visconti-Sforza cards created for the Duke of Milan Filippo Maria Visconti in the 15th century, decided to devote her new collection to the occult technique. Moreover, her desire correlated with Christian Dior's obsession with various superstitions, which he acquired after an accidental but fateful meeting with a fortuneteller.
“You will be left without money, but women will be supportive of you and thanks to them you will be successful,” she told a 14-year-old teenager who thought about becoming a designer of womenswear only a quarter of a century later. Dior carried six talismans in his pocket at once and even had a personal clairvoyant, Madame Delae. According to rumors, without her predictions, the designer did not make any decisions, and it was she who gave the go-ahead to open a fashion house.
Magical thinking was reflected in the designs and titles of the works of both Dior himself and his successors. Maria Grazia Chiuri addressed the theme of superstition in her debut couture collection and continued it in a new one. For the characters of the Garrone fairy tale, outfits were created in accordance with their roles, moods and characters, but with some changes. For example, an employee of the Parisian Dior atelier, talking about the work on the dress for the "Death" card, calls it one of the most terrible arcana in the Tarot deck, although it does not necessarily bode well. Therefore, the dress turned out to be light, airy, iridescent, made in such a way "so that it seemed that it was kept in the chest for a long time, but at the same time it looked modern."
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Valentino
Talking about the new Dior collection, Maria Grazia Chiuri, who in the past worked with Valentino together with the current creative director of the brand Pierpaolo Piccioli, noted that couture is unique, skillful and traditional, and if designers work more with simple and functional things, then the future high fashion will be threatened. Piccioli did not agree with Chiuri: “Couture can also be something hidden. Ultimately I wanted to achieve simplicity, even if it took months."
The new couture collection Valentino has confirmed the words of its creator: instead of the hypertrophied volumetric silhouettes with ruffles, feathers and flowers adored by the designer, minimalistic outfits appeared on the improvised catwalk. Among them are slip dresses, bermuda shorts, high-waisted skirts, blank shirts and skinny turtlenecks, which were also presented in large numbers at the recently concluded Men's Fashion Week. The images differed not so much in the decor (although, of course, the couture collection could not do without sequins, pearls and gold, which adorned both the legs and faces of the models), as the combination of colors: light green harmonized with milk, brown with mint, and red with lilac.
Organic contrasts were present not only in the collection, but also in the organization of the show: it was held without guests in the Great Hall of the Colonna Gallery in Rome, whose history began in the 14th century, with the composition Massive Attack "Ritual Spirit". Group member Robert Del Naya not only provided the track, but also filmed some of the stages of creating things, in order to subsequently interpret them using synthetic filters and neural networks trained by artist Mario Klingemann. This experiment is in tune with the general concept of the show, formulated by Pierpaolo Piccioli as “Code Temporal” - it proclaims the importance of keeping the couture technology up to date in accordance with the moment in which we live.
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Chanel
If the previous Chanel show, held at the Chenonceau castle, was watched by only one person, actress Kristen Stewart, now there were several ambassadors of the fashion house among the guests. These are Penelope Cruz, Alma Jodorowski, Joana Preiss, Isia Izhlain, Marion Cotillard, Vanessa Paradis with her daughter Lily-Rose Depp, as well as the granddaughter of Grace Kelly, Monegasque journalist and entrepreneur Charlotte Casiraghi, who starred in the new advertising campaign for Chanel. Their presence despite the coronavirus pandemic was justified: the creative director of the brand, Virginie Viard, dedicated a new collection to family reunions. From the floral arches and graceful chairs that line the traditional Chanel show venue, the Grand Palais, the meeting took place at a wedding. Floral wreaths and delicate colors of dresses, typical for the images of bridesmaids, also spoke about this,and the appearance of the bride herself on a white horse.
As the brand's team describes the idea, the girl seemed to have stepped off from a 1920s photo in an ecru satin crepe dress with a train embroidered in the Lesage studio with rhinestones and pearl butterflies. Anton Corbijn, director of films ("The American", "The Most Dangerous Man") and clips (among the customers of Joy Division, Depeche Mode, Roxett, Metallica and Nick Cave), managed to capture the highest manifestation of tailoring, recreating the atmosphere of the beginning of the last century, and part-time - a fashion photographer who has worked with Vogue and Esquire.
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Armani Privé
Giorgio Armani dedicated the couture collection shown at the Orsini Palace to Milan. The designer missed the city, to which he returned only in January - he spent most of the lockdown at his home in Forte dei Marmi and Broni. “On my way to the office, I am constantly touched by the beauty and silence of empty Milan,” Armani quoted Vogue in a letter.
Without being distracted by people, the head of Armani Privé focused on studying the surrounding textures that were reflected in the design of clothes: the show was opened by suits made of gray melange, trimmed with iridescent beads and crystals, and tulle dresses in typical red, blue and mint colors closed. In these outfits, you can mentally dress the fans of the fashion house who are waiting for a triumphant return to the red carpet: Cate Blanchett, Nicole Kidman, Elle Fanning and Julianne Moore. “The times in which we live make us lead a very limited social life. But the search for beauty doesn't end there. This is what this collection is about,”said Giorgio Armani.
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AZ Factory
One of the most talked about events of the Haute Couture Week was the show of Alber Elbaz, who in 2019, five years after leaving Lanvin, announced the launch of his own brand under the wing of the Richemont conglomerate. They waited for Cambek for a year and a half - and for good reason: during this time, the AZ Factory team (the brand name, which includes the initial and the last letter of Elbaz's surname, reflects his idea that he wants to be not a designer, but an engineer) thought through every little detail. For example, dresses made of stretch jersey were made in sizes from XXS to 4X, so that not only girls with the figure of Daphne Bridgerton could afford them, the zippers received long chains so that they could be fastened without assistance, and instead of shoes, the designer suggested wearing the so-called Pointy sneakers are bright, breathable and soft pointed toe sneakers. In a word,Elbaz took into a new life what he was valued for in the past: a sense of confidence and security, an almost therapeutic effect that saved women in difficult times, from interviews to divorces.
By the way, now the designer's clothes also save from the consequences of unpredictable weather. “I've traveled all over the world, but a single visit to Silicon Valley helped spark my imagination. After the trip, I asked myself: can tradition and technology coexist? Is there still a place for fashion in the modern world? And you know what? The answer is yes,”Elbaz said, presenting a line of microfiber dresses traditionally used in the production of sportswear. It allows air to pass through, evaporates moisture, is easily cleaned of dirt and does not need to be ironed, which means that it can adequately meet wind and rain, as shown in the ironic and good-natured film about the collection. The line will go on sale in May, while most of the new products are already available on Farfetch, Net-a-porter and AZ Factory. Visiting the latter is especially addictive:it is accompanied by a portrait of Alber Elbaz, who calls the guests nothing more than "amigos" and tells interesting facts about each thing you hover over.
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Fendi
With equal awe, the virtual guests awaited the show by the creative director of Dior menswear, Kim Jones for Fendi - this is not only the designer's first collection for an Italian fashion house, but also his first women's collection in general. However, it seems that the debut did not live up to expectations: critics preferred to focus on discussions of casting and set design, rather than clothing.
The Fendi-monogrammed glass maze, through which models wandered, from Demi Moore to Kate Moss with daughter Leela and Christy Turlington with nephew James, referred to key scenes in Virginia Woolf's novel Orlando, which has been translated into fashion more than once designers and curators of museums (remember at least the main theme of last year's Met Gala). However, as Jones admits, it is "very personal" for him: he not only grew up near the estate of the writer, but at school age was interested in an elite club in London's Bloomsbury district, where Wolfe entered with her sister, artist Vanessa Bell. The designer reflected Bell's obsession with Italian classicism in the silhouettes and materials of couture outfits: the draperies resembled sculptures by Bernini, and the marble color of the capes - the interiors of the Borghese Gallery.
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The collections of former Fendi creative director Karl Lagerfeld, to whom Kim Jones compares himself, were also filled with Roman motifs. “I read about him and think: 'I did this, I did this too.' Unless I come to work at 9 am and leave at 7 pm, and he started late, forcing everyone to stay up until the night,”he commented in an interview with The New York Times.>
