Glam is back. And it's Very Valentino
We loved everything about Pierpaolo Piccioli's Valentino show this week that closed Haute Couture Paris Fashion week. A procession of unique, special and surprising creatures. Shared by one language: that of a certain glamor from the 70s and 80s, like a diva. A very Valentino gala, modernly Hollywood and refinedly contemporary. For sumptuous and regal creatures, who walk majestically filling the room with their fascinating bearing. Daughters of the aesthetic vocabulary of the founder, Valentino Garavani , but ferried today. Between volutes of ruffles and bushes of ruffles, architectural folds and surprising colors, scanting aftermath and provocative necklines, aristocratic circumferences and tapered lives. The overall symphony is a crescendo of beauty. With Stella Tennant , wrapped in a mermaid skirt and veiled by an impalpable pink blouse, to open the show and Adut Akech to close it, framed by an aureole of delicate plumages. In the midst of optical games, abstract blooms, red carpet glares and precious embroideries. But above all those high notes of red, the fetish color of the Roman maison. Which becomes the emblem of a bridge between past and future, between a glorious history and an important tomorrow. Hannelore Knuts wears a scarlet tunic, in an unexpected union of voile and velvet, with a veiled bust and a large cloak that softly envelops the figure. In the head is a coral crown, the same crown that the models wore in 1967 during a show on Capri of the maison, documented by the photographer Paolo di Paolo , present in the front row of the show and called to tell the new Piccioli brand. A dreamlike story. Definitely Very Valentino
The bourgeois memory of Maison Margiela's Artisanal
For the new season of Maison Margiela's Artisanal collection, John Galliano chooses to tell a cyber-industrial bourgeoisie, combining two opposites in a special story. That comes to life in the decadent rooms of a bourgeois yard painted in fuchsia. Her creatures that populate the co-ed show of the brand move delicate and ethereal. With laser-cut petticoats, with scotch belts, and ruined, disassembled and reassembled coats, or formal suits that are softened with transparencies and bows. The perfume that cloaks the show is that of a regal antiquity. Made of glorious fabrics, monumental constructions, atelier architecture and tailored outfits. Who lose every fragment of perfection to become notes of an apparently out of tune pentagram, but ready to play a whole new avant-garde symphony. What a conquest.
The house on the prairie of Viktor & Rolf
Fashion upcycling becomes the beating heart of Viktor & Rolf 's thinking. The two Dutch designers choose to look at La casa nella prateria and the world of Holly Hobbies to imagine their new couture collection. That materializes sumptuously on a woven straw rug. Unveiling a parade of wild dolls, with a body covered in tattoos, but dressed in delicate, boyish patchwork. In a swirl of flowers and delicate little motifs that Laura Ashley would have liked so much. To complete the look, made of wheel dresses, gypsy skirt and childish baby doll, are giant tinfoil hats. To create luxurious scarecrows in a female version. Because in the atelier of Viktor Horsting and Rolf Snoeren , high fashion borders on the territory of art. And the clothes are destined to enter private museums and galleries rather than in the closets of some very rich customers of high fashion.