The January haute couture shows, which thundered in the French capital last week, happened at an opportune moment: the Oscars are not far off, and the nominees, if not looking for specific outfits, then at least hint to the admirers of the brand they will be wearing. Nicole Kidman, for example, carved out in her intricate schedule (now in the States they are giving awards to cinematographers non-stop) a day or two on a flight to Paris, where she met her colleague Isabelle Huppert in the front row at the Armani Prive show. But deeply pregnant Natalie Portman did not go anywhere, but she still got the dress: the night before last night in Los Angeles, she walked the snow-white Dior Haute Couture at the Screen Actors Guild Awards.
In general, whoever is lucky. Well, for now we will figure out what the couture schedule was famous for.
Each of the appointees to the position of creative director of the powerful French house is tested with codes set by Christian Dior himself. New Look in general and jacket "bar" in particular. Shades of red. Flowers. Off the shoulder dresses. In general, with the naked eye you can see that Maria Grazia Chiuri, who finally made her debut in the role of a couturier, has fulfilled her program at least. And she even reinterpreted the famous Junon dress, which was born in the late 40s. But the hand of the new mistress was still felt - albeit weightless, like tulle capes composed by an Italian and insect-like masks.
© Dior Press Service
Karl Lagerfeld, a great lover of extensive sources of inspiration (which only the "personal technologies" in the spring-summer 2017 collection cost), this time turned out to be surprisingly specific: his muse was Alberto Giacometti's "Woman-Spoon". Here's an explanation for the slightly outlandish proportions and silhouettes: waist - thin and high; the skirt, which is fluffy in the hips, originates from it. Trousers have apparently been excluded from this narrative. And the result is the most feminine power suit possible. Either the Kaiser is really going to dress Melania Trump, or elegantly - and for the umpteenth time! - spoke in support of the feminist movement. However, one does not interfere with the other.
© press service Chanel
"Orange is the new black." It seems that this is exactly what Giorgio Armani tried to assure the clients and simply the fashionable public. But the color has a so-so reputation: firstly, the association with prison uniforms, and secondly, with the face of Donald Trump, who, as you know, does not enjoy great sympathy even among the population of his own country. In addition, this is not the best color for the red carpet (in fact, that is why it is so rarely chosen - yellow is better!). “But this is an optimistic color,” the Maestro does not give up. "And it suits both blondes and brunettes." But you just can't argue with that.
© press service of Armani Prive
Even if the next collection of John Galliano for the French brand was an order of magnitude weaker, it would still be remembered: well, how, pray tell, can you forget a woman's face "drawn" with black tulle on a snow-white coat to the floor? Much to the delight of fans, this was not the only bright spot: not setting a goal to either set or maintain trends (Maison Margiela, in principle, not about "fashionable"), the designer focused exclusively on the creative aspect and created clothes worthy not only of a dressing room, but also museum.
Viktor & Rolf
Two years ago, Danes Victor Horsting and Rolf Snoren rejected the concept of “ready-to-wear” - and now, twice a year, with their inherent imagination on the topic of haute couture. The new collection of the eccentric duo consists of a kind of "Frankenstein" - clothes created from parts of other clothes. To be more precise - dresses that have outlived their way back in the distant 40s. All this splendor is spiced with the characteristic ruffles of the brand, laid in layers in fluffy skirts. By the way, Viktor & Rolf was the first among couturiers to decide to approach the see now, buy now format: three outfits (thirty-two of them were shown on the catwalk in total) could be purchased on the brand's website immediately after the show.
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After reading ancient myths (their influence even influenced the choice of shoes - Greek sandals), creative director Pierpaolo Piccioli, who first worked on a haute couture collection solo, released models on the catwalk in outfits that looked more like sleepwear than outwear. Although it would be a big mistake to keep these lightweight, in some sense puritanical (even transparent fabric does not make them vulgar) dresses from prying eyes, of course, it would be a big mistake: beauty should save the world.
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