Natural and textured Spring Couture ’18

Haute Couture is sending a message, maybe not a meditated one, but it was clear. Nature, in most cases, was the inspiration for most collections. The textures, the roots, the flowers, the sky, the movement. In a clear or surreal environment, nature had a leading role in the trends that will be dominating the next year, in the clothes we all be able to wear.

Maybe it is also a cry for the industry to step back and slow down its pace. Many talented designers have resigned their posts due to the pressures of launching 6 different collection, tending to trends, and satisfying the loyal brand customers. And of course, battling the copycats, born and raised with the fast fashion brands, and their pressure to get people something new, every week. True fashion cannot do that, and neither this nature will be able to hold out for long.

Haute Couture is also feeling a lot more optimistic, the collections were full of colors (to the exception of Dior), filled with tulle, frills, sequins, embroidered flowers and a sense of lightweight, and a clear nod to the female empowerment. Many of the couturiers opted to show more pants, even tuxedo constructions owned by the softness, lightness and femininity. This is also a repercussion of all the social movements and distresses that we’ve been witnessing or have been a part of for the last year. Let there not be a doubt that fashion is a strong way to express one self for the human being.

Beyond all these meditations, the trends are clear, so get ready. Texture, a lot of it,  nature related, specially. Feathers, frills, embroidered flowers, and tulle will be making a strong come back, as well as some color block and as Galliano clearly stated with his Margiella collection, clothes that will shimmer with light.

The dark side of Fashion

Rumor has it that the extra fast-paced environment of fashion was what got the best of Raf Simons, and that was the primordial reason for him to leave the Creative Direction of Dior just after 3 and a half years.

Raf Simons

And if you think about it, for that particular maison there’s: 2 Haute Couture collections, Spring-Summer, Fall-Winter, Cruise, Pre Fall-Resort; there’s also the complex ad campaigns, supervising the rest of accessories, the shootings, the brand appearances on the red carpet, to name a few responsibilities . Fast fashion is a term only applied to H&M, Inditex, Uniqlo and it should be to every fashion brand that wants to grow and be known and bought. That goes as far as luxury.

But there’s more than one way to see it.

It is well known that Christian Dior himself was unable to adapt to the idea of Prét a Porter, and he was never able to catch up and his brand started to lose all its shine. That also happened to the master of Haute Couture, Christian Lacroix.
He delivered magnificent Couture collections, but did not seemed to grasp the Ready to Wear concept. The rest of the designers were aiming for the working woman, and the eccentric Lacroix creations could not fit in. He’s been in and out of the fashion world since 2009. He even did a special Haute Couture collection for Schiaparelli when the brand came back. He was the perfect match if there ever was, and yet the reviews weren’t at all good.

Christian Lacroix

The most recent drop out of the high fashion and ready-to-wear-craziness was Jean Paul Gaultier. The french enfant terrible wanted nothing to do with the exhaustive schedules of actual fashion. He pointed out something that most designers have kept silent. The popular brands such as H&M, Inditex, and even “premium brands” such as Michael Kors are shamelessly stealing the “inspiration” (not to say actual designs) from the originals creators. And of course, they could come out with almost the same pieces, with low quality materials at 30% of the cost. And high fashion and luxury can’t fight that… At all.
So Gaultier now works in his Couture collections and seems happier than ever.


Alexander McQueen had some depression issues, but the demanding environment he lived in may have fed his inner demons even further. He was an awesome talent working at his own brand and yet it was too much for him to bare.
Tom Ford had a meltdown right after leaving Gucci. He had been an apprentice under Yves Saint Laurent, who happened to turn against him right after Ford took over the creative Director spot of the french maison, and then he picked up Gucci and gave it a new shine. He couldn’t focus on his brand ‘cause Gucci was so demanding and he left amid rumors of a massive fight with the directives. The man experienced some serious depression right before his eponymous brand conquered the world. And even then, Tom Ford had a terrible time adapting to the ever changing digital times, cutting out press and bloggers out of his runways trying to keep them as secrets. We all know how that has turned out. There’s a video featuring Lady Gaga now.

Aexander McQueen Tom Ford
And then of course, there’s the Galliano meltdown. The drunken (and intoxicated) anti-semitic rant that went viral and meant the end of his reign at Dior. He was even cast away from everyone in the industry, except for Oscar de la Renta who seemed to be the only with common sense to understand what had gone down. The talented Galliano had had too much of the pressure, and he was using drugs and alcohol to get by. Pressure got the very best of him, and went overboard. And now you can see him happily working back at Maison Margiela, were his eccentricities are praised and have become the success of the brand. But he’s not the Galliano that walked the runway in disguise. He’s clearly far more reserved and careful of his public image. It could not have gone any other way.

John Galliano

There’s the case of Nicolas Guesquière. After a bitter fight with Kering after he left Balenciaga, LVMH made him the creative head of Louis Vuitton, bringing a much needed change to the brand after all those years under Marc Jacobs who also wanted to focus on his brand and yet could not do it because of Vuitton.
Nicolas has made some huge changes, trying to give a renovated sense of exclusivity to the Maison. The man supervises everything, all the collections, all the accessories, the models, the photo shootings, the ads, the runways. Guesquière is a lot less theatrical than Jacobs, but he actively participates in the globe trotting runway-shows for Cruise and Resort, but he makes the most of Vuitton assets and legacy.

Nicholas Ghesquiere

Stefano Gabbana and Domenico Dolce were forced to eliminate D&G, so they could truly dedicate their efforts to Dolce&Gabbana, that was the mother brand with the largest income. The sicilian pair have convinced his followers with their consistent runways and the brand has experienced growth.

Somenico Dolce & Stefano Gabbana

The big american brands have a clearer path. Donna Karan stepped down from her brand and left it to others to run it. Ralph Lauren stepped down as Lauren’s CEO, to bring in someone with a larger growth vision, but the man will remain there for designs and consultations. And Tommy Hilfiger sold his brand to a conglomerate some time ago and he remains as the creative head though it is not exactly an exciting brand.

Tommy Hilfiger Donna Karan Ralph Lauren

And then there’s the lifelong fashion powerhouse. Karl Lagerfeld, Giorgio Armani and Miuccia Prada.
Karl Lagerfeld recently talked about his lifelong contracts to Fendi and Chanel. The man takes Chanel runways all over the world and he won’t stop under any circumstances. All the pressure that exists in the fashion world may be feeding him what he needs to keep working at both brands, without any considerations to negative critics.
Giorgio Armani has also declared that he has no intention of retiring. He will keep in working on his bigger brands, ‘cause in case you don’t remember or don’t know, Armani sells from hotel designs to furniture and (obviously) clothing to even candy and flowers. The Emporio has no recognizable heir, even though everyone points at Roberta Armani, the designer’s niece.
And Miuccia with her ailing Prada and its growing Miu Miu. She’s been behind the brands since 1978, after inheriting it from her grandfather. She is co-directing the brands with her husband as she designs and supervises everything.

Giorgio Armani Miuccia Prada Karl Lagerfeld

So, do we have a decisive conclusion? Probably not.

Maybe not everyone can get a hold of the fashion world at its modern pace. I’ve said more than once that high fashion and luxury should not be forced to be taken in this excessively fast paced environment, but fashion is a form of expression for each individual and it is in fashion’s DNA to adapt to the time being. It responds to people’s needs and to the social cultural moment. If it stayed behind, it would become instantly obsolete and useless.
Fashion is about talent and creativity, but it also requires a strong visionary temper that withstands critics, pressure and change.

And the ones who want to prevail should consider that things will not be changing for a long time.

Spring 2014 Haute Couture

I am a sick fan of Couture. I believe it is or at least should be the muse and inspiration of true fashion.
It’s the place where fashion truly becomes art, and allows the designer to become the couturier, the highest place in fashion hierarchy.
Not everyone goes the ART way, you can see Maison Martin Margiella, Viktor & Rolf and whatever is it that Marco Zanini was going after with his demi couture for Schiaparelli.
That’s the other thing, as you know Vionnet and Schiaparelli have been brought back to life, but haven’t found the right person to take the lead and figure out the muscle that each brand needs. Christian Lacroix took on the first Schiaparelli collection and as everything with Lacroix it was big, baroque and crazy. Zanini just tried to go with the crazy hats to make it seem a little Schiap. He’s clearly not the one to take on that brand.
Neither are Hussein Chalayan or Goga Ashkenazi for Vionnet, that collection had no direction, no resemblance to the true origins of Madame Vionnet.
Whoever is behind this come backs, has to look harder for designers that understand those roots, and bring them up to speed.

I’m going to simplify this one for you: we are finally leaving those horrible oversized silhouettes and finally returning to the curve hugging fabrics, and elegant and flattering drapings. Showing some skiing is coming back hard.
This spring will be a lot more feminine, not only with the silhouettes, but with the colors. You’ll see jewel tones, but soft pastels will be far more predominant. Flowers are giving a little way for butterflies. Gold will be black’s perfect pair, and animal print (big jungle cat type) will also be leading the trends.

Alexandre Vauthier always appears a little extravagant, but this time it was full on baroque and show off. Jewel tones over luxury silks, tules and braided leathers, with flowy or decadent draping and more skin showing that most of us really want or need. All the outfits were more night and party fitting, almost on the cabaret side of party.
Zuhair Murad gave a professorship on extremely delicate and feminine brocade and lace. Golden feathers accessories were the best companion to his creations. You cannot get more girly that beautiful soft dresses and gowns in pastel.
Whenever I see a Valentino Collection, I wonder what is Valentino Garavani thinking when he sees his brand shattered by Chiuri and Piccioli. Valentino was about sensual, feminine, modern yet elegant pieces. This collection just went all over the crazy. Maria Grazia and PierPaolo were inspired by Opera Arias. I love Opera, I’vee been taught and heard a lot of it since I was a child, and the concept of bringing the theme into Couture seems appropriate and fitting, unless you have crazy satin tigers coming out of the skirts or what appeared to be a potato sack.
Don’t get me wrong, I fully understand the work and craftsmanship being every piece, but the beautiful ones where the least. If they’re going to take cues out of Björk’s closet, they are bound to get it all wrong.
Elie Saab worked what he knows best. Tose beautiful red carpet gowns. But this time he took the time to amaze us all with that greek-roman goddess simple yet elegant dresses, as well as those colorful reverse ombre creations.
Armani decided to leave behind his trade mark grey, swapping them for all the shades of blue and mixing up casual wearable jacket pant suits (another Armani trade mark), with perfectly elegant dresses with a clear gypsy influence.
Bouchra Jarrar just received her haute couture appellation. This appointment makes a strong statement of her work. You can see that her collections are far more wearable than any other Couture one. Yet she choses to mix luxurious fabrics and bring them to and apparent every day use. The palette was as predictable as ever, this woman must hate color, because the one piece that stood out was a simple royal blue maxi dress.
The tormented Ulyana Sergeenko. She’s a newbie in the Couture Circuit, so she falls behind every single season. She was inspired by the Orient Express and the femme fatale silhouette of that time. They were perfectly made, and yet completely off based, with her huge balloon skirts.
I seriously believe she will finally figure it out.
The Kaiser is giving Chanel some really luxurious pairs of tennis. That mix of pastel tweed and sparkling tennis, knee and elbow pads would make Coco die all over again, but it’s a clear way of showing people that the highest fashion is going urban. This trend in particular walked all the way from the street to the highest form of fashion statements. And that is truly remarkable and fantastic.
Lagerfeld also is backing up the return of the tight, body hugging clothes, but then again Karl has a pretty tough stand when it comes to fat people.
The Greek -Roman Goddess trend is coming back with Alexis Mabille and Versace, but in different places. Mabille chose virginal white, with butterflies, long drapes and sheer fabric. Versace took the mewl glam, extra tight fittings to make the goddess stand out from every crowd, and a lot more skin, but at the end of it all, it is Versace.
Giambattista Valli truly loves his flowers, even when it is for bad girls that put on his couture right after a night of disaster. The draped mini skirts are the counterpart of long impecable taffeta gowns, and asymmetrical cocktail dresses.
Raf Simmons is weird. I have no words that match what I truly feel when his Couture collections come up. I’m pretty sure it has to do with all the love I had for Galliano, but this is so far away from the “New Look” Christian Dior origin. It’s technology applied to the best fabrics, and it’s craftsmanship to make them look so perfect, it had movement but the cut work was too much. And the over lapping of texture and fabric seemed like patches.

Alexandre Vauthier Couture S14

Alexis Mabille Couture S14

Armani Privé Couture S14

Atelier Versace Couture S14

Biuchra Jarrar Couture S14

Chanel Couture S14

Christian Dior Couture S14

Elie Saab Couture S14

Giambattista Valli Couture S14

Maison Martin Margiela Couture S14

Schiaparelli Couture S14

Ulyana Sergeenko Couture S14

Valentino Couture S14

Viktor&Rolf Couture S14

Vionnet Couture S14

Zuhai Murad Couture S14

Couture, we meet again

As you all know, every Haute Couture Week is my favorite. Couture is the pioneer and the beggining of every trend we’ll be seeing for a couple of years to come. It is also the place were designers can become truly artistic and jst work their art with no fear. That’s just a great moment of fashion expression, and we should always take as it is, an artistic statement, rather than real pieces of clothes.
This week had fantastic moments, and some stuff that was weird and off, yes I’m talking about Maison Martin Margiela and Viktor&Rolf.
But let’s begin with the colour trends we’ll be seeing from now on. The emerald green has not left us yet, but it’s transforming onto ther shades of green. Green is a very flattering jewel tone for every skin tone. As well as the navy and royal blue that are coming our way. Red will be coming strong as well as mauve; a little gold and champagne shades are the nudes and neutrals to combine with the brightness of the rest. And you can rest easy, black&white will be staying with us for quite some time. It’s easy to combine and every outfit can be turned into a very elegant and classy one, with this match.
Now, as to the true trend of the clothes: A lot of rock/punk influence, with flower patterns and asian (chinese) touches, and as weird as ti may seem, a little Victorian, but the again it will be winter, so the long skirts and the bulky sleeves will come in handy.

Alexandre Vauthier

Alexis Mabille

Armani Privé

Atelier Versace

Bouchra Jarrar



Elie Saab

Giambattista Valli

Jean Paul Gaultier

Maison Martin Margiela


Ulyana Sergeenko




Zuhair Murad

Aexandre Vauthier went for the rockstar/punk look and he pulled it off wonderfully. Mixing fur with leather and sheer fabrics, bright beaded jackets, and asymetric skirts. The cut out dresses with plunging necklines are so femenine and so sensual, he is clearly aiming for a younger target and people who enjoy the night life and pushing the boundaries.

Mabille got his inspiration from Boldini, an italian painter. And although his heart was in a good place, the collection lacked coherence. Trying to give some modern touches to Victorian styles is just not something you wanna try. Some of the outfits were clearly odd looking and not that appealing. He also ent for a lot of pastel and ombrè shades making a very weird colour statement. I loved the column dress with the cape that appeared to have a semi impressionist painting on it, but this was not Mabille’s best work.

My dear Giorgio Armani went for what he knows best, elegant and nude tones. Actually, the whole collection is called Nude.As you can figure out, it is very elegant, classic with a lot of pant suits is perfect silks and impecable hang. The frills went all the way to the evening jazzy dresses with bright beading. Marlene Dietrich-look alike models with long black feathers on the neck were the beauty touches, and it was perfect. We’ll be seeing a lot of this creations on next year’s read carpets.

Every day I’m more surprised of how much I love Versace now. And we have to acknowledge Donatella’s fantastc job as a designer, and for bringing this brand to the real women. It is still what Gianni wanted it to be. An italian brand for women filed with self confidence, and ready to show their raw sensuality and are never afraid to show a lot of skin. But Donatella’s view is more own to earth and far more elegant and less theatrical than her brother’s. This “goth-meets-great-everning-gowns” collection is just fantastic. THe mis&match of textures as the sheer crystal beaded skit with the knitted top, bearing midriff is just a great idea. The siren dresses in blue and red with the metallic collars, OMG, just making “good girls gone bad” dreams come true, with Naomi Campbell on tow.

Bouchra Jarrar has always seemed very weird to me. Her Haute collections have been, up until now, just plain off for the queen of fashion weeks. But this one was just another rock/punk demonstration, at its best. Again all in black and white, with twisted tops around the breasts and the arms. Midriffs showing, with delicate chains going fro one side to another over black capri pants. and crossed jackets with lots of zippers and chains. Couture du Jour her creator called this work.

The master of couture himself created a Victorian Opera “in ruins” theater to show everyone his latest Chanel meets Lagerfeld Collection. It is clear where Chanel begins and ends with the tweed mid and full jackets and the skirts with crystal beading, and the master mind of the Kaiser begins with strange looking dresses that mix every texture. Belted and layered dresses are the bet of Lagerfeld’s creations. Of course, we’re talking of the brand that this year has already beaten Louis Vuitton as the most sold brand in the world. So Karl can do pretty much anything he wants, as he has been doing so far.

Raf Simmons has proven the world that he was the right choice to fill the very big Galliano shoes at Dior. His creations are far less dramatic than Galliano’s, but then again that was always Simmons’ thing. Something dreamy, but real down to earth and convincing. This is precisely the king of collection that mixes both vast new looks for Dior with the simple freedom that the designer has. Beautiful jewel gowns, with layerd and cut out every day outfits, in bright red mixed with purple, and some different textures that provide the right look and feel.

There’s not a lot to say of Elie Saab’s collection. The man has found his perfect combination of short cocktail dresses and long beautiful gowns, filled with crystal beads and a variety of necklines for every taste and event. It’s pretty much what we have seen for the last years. And the same goes for Zuhair Murad. This time, apparently his inspiration came from roots or plants or something that are all over the sheer panels of fabric in most of his creations. Also a mix and match of short dresses and gowns and some skin tight jumpsuits. If you are ging for soomething beautiful and not so edgy, these two can be the right decision.

My couturier Giambattista Valli, the man inspired by flowers, strong bold colours and, in this occasion, china porcelain. Mixing crossed jackets with extra bulky short skirts with the china flowery pattern in white and blue, and that extra fabric that almost turns into a huge ribbon, and provides the right amount of volume to the asymetric dresses. Long at he black, and thight baring at the front. My favourite, the bold yellow gown with the delicate flower pattern.

I’m going to dive right in into Maison Martin Margiela and Viktor&Rolf. I have to be honest, I really don’t get this conceptual fashion thing they got going on. It’s just plain horrifying. It means nothing to no one, and honestly, why should any one consider jeans a part of Couture? When I say this is the place for the designers to turn into artists, I mean inspirational fashion not crazy runways with models with their heads covered in beaded masks, or a black conglomerate, that no one would ever dream to wear. Do this people understand what fashion is? Maybe some of you out there understand this conceptual thing like it, I would love to know and understand.

Jean Paul, the rebellious. The hellish child of french fashion and beloved creator of the Madonna Bustier and the outwear lingerie. I love him, because he’s not worried about becoming the next fashion hit, He’s already done that and he’s having fun with the people who love his clothes and ideas. That’s what his latest collections scream. This raw, animal , going for the tough ladies outfits is all about. The leopard print even on the stockings), the crazy tall hairdo’s, mixed with 50’s fashion, the textured bustiers and the flowy dresses, it just makes a great fun collection.

Ulyana Sergeenko has started a Haute Couture house with no training and very little education of fashion worldwide. She brings a lot of his rusian or ucranian roots to the table, and it’s good and different, but it is always so out there and not really comprehensible. This time, she brought back her orthodox background mixing fantastic culottes with volume with really conservator dresses, with long sleeves and not and ounce of neckline, or incredibly short skirts and necks covered with fur. She’s trying, and searching for the right type of influence. I believe we will see something really great, pretty soon.

Maria Chuiri and Pierâolo Picciolini went for baroque, and unexpected. And as it truly was different, I also did not love this collection. Valentino has its core at elegant flow-y, bright colored outfits, and this went to the right opposite. Raelly heavy Fabrics, baed on gold and, if I may go a little out there, trying to look a lot like the latest Dolce&Gabbana baroque collection, but gone wrong. Not well executed at all.

Goga Ashkenazi has he incredibly difficult job to ake VIonnet the brand that it was when Madamme Vionnet created it. And I believe it’s harder given the fact that there aren’t a lot of elements to truly create core values that define the brand, in order to mix tradition with modern fashion. This collection was great, filled with evening and event gowns. But let’s face it, Couture is something tat (the people who can afford it) also wants to wear at any give moment, and you cannot wear one of theses dresses to go to the market. Goga has a long way to go, and a lot of research to do.

And I will take this time to go out of my mind crazy with the Schiaparelli Haute Couture Capsule, created by non other than the fantastic Christian Lacroix. It’s just the Couture dream that fashion lovers expect.
But let me explain myself a little better. Elsa Schiaparelli created her brand at the same time that Coco Chanel and Christian Dior. She was heavily influenced by surrealism, Dali, Buñuel and those crazy fellows that were creating art at the time. Her designs were just as crazy and filled with inspiration. Of course she wasn’t as successful as her fellow fashion designers and the brand, as well as Schiap, disappeared. I love her crazy outfit, deserving of Haute Couture recognition.
Christian Lacroix is the master mind behind Lacroix, and its marvelous Couture legacy. THe man decided he didn’t wanted to do Pret a porter and was ripped of his own label. He has been given the chance to do this, as he loves Schiaparelli as well. And the result is a mix with he lobster dress, and the monkey fur, with the baroque bright, volume filled Lacroix seal.
I think I’m in love.

Spring Summer 2013

Es muy notorio que el circuito de moda de Nueva York y Londres hablan un idioma muy distinto al de Milán y París.
No tanto por las tendencias, que son siempre similares. En este caso, tendremos una primavera y verano lleno de siluetas de las décadas de los sesentas y los ochentas. Pero el trabajo que se les dá en las primeras es  distinto. El trabajo de los maestros americanos es de líneas mucho más limpias, y de colores mucho más intensos, al contrario de los grises y negros que ocuparon gran parte de las pasarelas europeas.

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Para empezar, seguiremos viendo el peplum, en los meses por venir. Y también tendremos visiones de patrones repetitivos como líneas y cuadros, así como prints muy recargados. Lo vimos claramente en Balmain, Louis Vuitton, Versace y Dolce & Gabbanna. Pero lo verdaderamente espectacular, es ver de vuelta el animal print de serpiente en muchas de las colecciones, incluso en la siempre críptica Lanvin.
La realidad es que esta vez, los diseñadores se enfocaron en una mujer extra sensual, llena de fuerza y vida. Y los slits en diversas partes del cuerpo, así como el uso de telas transparentes y grandes cantidades de delicado encaje y brocados acentúan esta visión de una mujer mucho más sofisticada y elegante que  lleva estos elementos a cualquier momento de su vida. Desde la vida laboral, hasta los vestidos de noche que, cabe mencionar, Elie Saab y Valentino mostraron versiones casi iguales del mismo encaje blanco.
Balmain sostuvo su trabajo lleno de studs, con hombreras grandes y faldas muy cortas, y un pattern de rombos blanco y negro. Marc Jacobs eligió el Damier para ilustrar la nueva temporada de Louis Vuitton. Honestamente, creo que exageró con el uso del tablero de ajedrez, sobre siluetas claramente sesenteras. El único descanso fueron los color block con pequeños detalles de flores.
Un trabajo que vale la pena recalcar, fue el homenaje ochentero musical que hizo Jean Paul Gaultier, desde Kiss, a Boy George, David Bowie y Madonna, fue una pasarela que incluso hacía alusión a sus antiguos diseños.
Hedi Slimane tuvo su presentación al frente del renovado Sain Laurent Paris, y creo que puede considerarse un éxito. Con un hilo conductor dentro de los amplios sombreros, propios de la época hippie y las blusas holgadas, combinadas con pantalones capri muy ajustados. Es una colección pequeña, pero realmente interesante. No puedo decir que siento lo mismo con el trabajo de Raf Simons al frente de Dior. Es probable que tenga que ver con el hecho de que, a pesar de todo lo que se diga, John Galliano es un diseñador con un talento privilegiado que iba mucho mejor al frente de una casa de moda que se precia de ser exhuberante y muy llamativa. Simons está apostando por el camino opuesto, líneas y diseños sencillos, con colores brillantes y eliminando el New Look típico de la casa. Esperemos que Raf vuelva a estudiar rigurosamente los músculos de la marca, porque estas prendas nada tienen que ver con la esencia Dior.
Lagerfeld renovó de nuevo Chanel, con siluetas de los sesenta, y mezclas de texturas en aplicaciones brillantes sobre lisos, o lisos sobre el tweed riguroso de la casa francesa. Es una colección mucho más fresca y divertida de lo que habíamos visto últimamente del Kaiser.
Y claro, Sarah Burton luciéndose al frente de Alexander McQueen, con la tendencia que compartió con Dolce & Gabbana. El regresó del infame miriñaque. La vuelta a la silueta del siglo 18, pero mostrando un poco más de lo que los modistos de la época hubiesen imaginado jamás. En el caso de D&G, es una revisión de su natal Sicilia. Ya llevan varios trabajos inspirados ahí, pero yo no me eh cansado de ver esos looks llenos de color y sensualidad, de encajes negros y actitud italiana sureña. Es que la ropa tiene personalidad propia y creo que eso es por lo que apuesta la dupla italiana.
Burton está trabajando bajo la señalización que McQueen dejase antes de su muerte.
Frida Gianini se decantó por color blocks en tonos muy brillantes, como rosas, naranjas, amarillos y turquesas, en siluetas ligeras, con gran caida y sencillez. Algunas cosas que compartir con Donatella Versace que vuelve a sorprenderme con una colección que compraría completa.
De sorprender el trabajo de Roberto Cavalli, con mucho menos animal print y si mucho encaje muy bien trabajado, digamos que algo un poco más adulto y menos extravagante.
Giordio Armani sigue apuntando hacia el minimalismo absoluto, con líneas puras y limpias, jugando con la idea de un caleidoscopio en tonos metálicos azules, grises y verdes, con más relación a la silueta de la década de los 80 que él mismo impulsó, en ese tiempo.

Esta temporada, realmente es para divertirse y apostar por la silueta que más les guste y que mejor se adapte a su cuerpo. Seguramente el maquillaje y peinado irá en ambas direcciones. Yo optaría por ignorar completamente los peinados ochenteros porque si recuerdan, eran espantosos. Los de los sesenta eran mucho más elegantes y divertidos. En cuanto a maquillaje, ambas tendencias pueden resultar muy divertidas, si las saben adecuar a la ocasión.

En el pasado…

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