Fashion Weeks

The charm of couture conquers Paris with Chanel, Armani Privé and Givenchy

The rue Cambon fashion house is inspired by the years of Coco mademoiselle spent in an orphanage, while for the brand designed by Clare Waight Keller the fil rouge is the work of the founder in the 50s. And Giorgio Armani is inspired by Ikat and oriental exoticism
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Chanel and Mademoiselle's childhood

 All around Spartan benches and in the background the sound of the children playing. For Virginie Viard, Chanel's couture becomes a journey to the roots of Mademoiselle Gabrielle Coco Chanel and especially the years of Aubazine, or the abbey-orphanage where Chanel spent part of her childhood. And those years became the starting point to tell: "In the dialogue between the world of haute couture and the great simplicity of that moment in Chanel's life". The show was a game of reference between pauperism and luxury. The silhouettes are simple, in linear dresses or in understated blouses, in small jackets or in dresses that look like aprons. But the processes, the embroideries and the fabrics are pure atelier. On the feet, patent leather and cotton socks. Evening dresses inflated with tulle and tunics with disarming simplicity, veiled by sheets of tulle. The same register paints the bride-girl, dressed as an educand and with a little one to decorate the bun.


The exoticism of Armani Privé

Ikat is a  special yarn dyeing process that has become a symbol of Malaysian and Indonesian culture. Giorgio Armani starts right here for his Armani Privé and is fascinated by the Orient starting from: "Those three jackets made of ikat, which I had paraded for the spring-summer 1990 collection". And then the couture of spring-summer 2020 becomes a crescendo of colours and preciousness. There was a symphony of twinkling crystals, painted organza and silks transformed into paintings. And special colours, from peacock green to bougainvillea, from electric blue to ruby. Between trouser suits with small jackets and underneath that shout an exotic fairy tales and evening dresses dressed in light, where the beaded fringes compose abstract puzzles of evocative fantasies. 


The tribute to Monsieur Hubert of Givenchy

"I wanted to pay homage to the work of monsieur Hubert de Givenchy, to his creations from the early 1950s, to the incredible work he carried out by telling the silhouette of women". Clare Waight Keller starts from here to tell the triumphant high fashion brought on the catwalk for Givenchy. Inspiration is love. But also the gardens that Monsieur Hubert loved, like that of his summer residence, Clos Fiorentina, in the south of France. The result of this meeting parades through the columns of the Couvent de cordeliers where a floating chamber orchestra hangs. That marks the steps of the girls wearing monumental creations. Skirts embroidered with 3D flowers with long trains. Hoods with shoulders dressed in towering horsehair. Tunics that become architectural ruffle bushes. But also immaculate robes carved in lace or floating peplums with extreme colors. But to frame the face are the hats: giant parables of layered organza that tell the charm of a diva of the past. And that accompany the ball gowns but also the bride dressed in virginal lace.


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