![]() ![]() The designer used this as a muse for a playful fall-winter collection that used feathers to mimic real fur on 1980s-themed looks with a funky retro soundtrack and flashes of bright color.Īn oversize Russian winter fur hat, or chapka, looked initially like the genuine article and shimmered alongside a red “fox” bubble jacket. Last November, animal rights groups hailed Gaultier’s announcement that he is joining the growing ranks of designers to ban animal fur from their collections. In a corseted gown, singer Christina Aguilera held court with “RuPaul’s Drag Race” stars Violet Chachki and Miss Fame, as well as French cinema icon Catherine Deneuve at the fur-free show. The standing ovation followed, and as the soundtrack blasted, a smiling Dion mouthed the words, “You make me feel like a beautiful woman.”Īmid the rousing applause, all the couture artisans that worked on the collection came out to cheers and hugged the house founder Valentino Garavani, who sat with Paltrow on the front row.įake fur and authentic celebrities got all the attention at Gaultier. would be betraying the deepest meaning of the journey.” Piccioli included a disclaimer in the program notes: “Trying to explain it all. It was a diverse show that brimmed with ideas, but one that was sometimes hard to pin down as a whole. There was even a loose, pink sequined gown that looked ready for the disco. Still, it’s no disrespect to Piccioli and all his incredible teams to say that there is nothing that digital wizardry can possibly ever do to compete with the visceral wonder of seeing a Valentino haute couture collection walk through a room on his models.This season, Pierpaolo Piccioli celebrated the organic: In its literal sense, through floral and bird-shaped embroideries, and figuratively, with ethnic fringes, crystals, gold baubles and sections that seemed to grow out of dresses and headpieces.Ĭollar bands that were constructed with beautiful black feathers mixed with long, Renaissance-looking “intarsia” capes. In practice, the house will work with clients to reproportion them according to their own dreams-that’s what a couture house always does, anyway. In Piccioli’s case, the surrealism was right there, embodied in the theatrical form of the clothes. He commissioned unreleased recordings from FKA twigs, her extraordinary voice soaring poignantly as the models swung from trapezes and floated through Knight’s digital performance.įashion communication on multi-platform formats has taken surreal twists and turns as designers have tried to conquer the dreadful problems of the pandemic. The notion of taking the show to Cinecitta, Rome’s “factory of dreams,” led him to add the concept of “the magic of early cinema,” evoking the silent movie imagery of with silver sequins and waterfalls of glittering fringe. Cut to real time: curtains drew back to reveal the models, standing perched on ladders in a static tableau, their dresses-now revealed to be all-white-cascading to the floor, videoed live. First came a pre-recorded screening of an artily glitchy video by Knight, in which projections of flowers and feathers played over meters-long dresses worn by women who appeared to hover in an aerial circus scenario. Were you spectating via laptop, the distanced sensation was one of being sucked into a liminal space suspended somewhere between a digitalized romantic fantasy, and an installation of models wearing surreally-proportioned white dresses, relayed on video. ![]() ![]() A moment I will never forget.”Ī local audience was in attendance. “It was super-emotional for us all to be here together to win this challenge. ![]() Couture is made for emotions, dreams,” he said. In a Zoom press conference, Piccioli explained he’d conceptualized the 16-look collection as “an extreme response” to the tough circumstances of lockdown a determination to overcome the technical problems of socially-distanced working in the Valentino atelier and the impossibility of creating prints and lavish embroideries. Entitled “The Performance: of Grace and Light, a dialogue between Pierpaolo Piccioli and Nick Knight,” it played as a hybrid digital/ physical event staged in a darkened void on the famed Cinecitta movie lot. At the finale of this strangely long, drawn out fall haute couture season, it was Pierpaolo Piccioli’s turn to show the Valentino collection in Rome. ![]()
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