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.

Haute Love!

There’s a lot to be said about Couture week. Like that awesome runway right in the middle of La Fontana di Trevi that took place today at Rome, by Fendi.

It is just pure magic. 

And also, this Stéphane Rolland structured black&white gown.

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Sure you remember Guo Pei, the chinese couturier that came to the light after dressing Rihanna, in that golden yellow cape dress at the Met Gala.

Well, after that priceless recommendation, and the MAC reaffirmation collab, the world is watching now.

The talented woman has now shown her latest work, and it is just every bit as amazing as that Rihanna moment.

The craftsmanship, the volume, the colors, the head embellishments, the exuberant work.

Guo Pei is showing her talents in a big way now.

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An ode to slow Haute Fashion

So, the fashion industry has been experiencing some serious turmoil with the designers resigning, and maisons left without creative direction.

There are numerous reasons for a designer to leave. The discrepancies with the financial direction, the creative limitations or just a fight with the brand director. Case in point: Alber Elbaz. This is an ongoing fight, given that after his exit from Lanvin, his creative team has been very outspoken of their not so loved direction.

The rumor mill has it that Stefano Pilati is leaving Ermenegildo Zegna for Lanvin. So we haven’t hear the last from this particular case.

Now, there’s a new case of designers leaving and having issues with the brands, given the pace that fashion has come to thanks to fast fashion (we are looking at you Inditex and H&M). The luxury houses have to take on a much faster pace in order to catch up with the created demand of trends from the consumer, and the fact that fast fashion steals some inspiration, doesn’t make things any easier.

Designers who are artists first and foremost, are succumbing to the pressure of not having real time to look out for inspiration and the magic that makes luxury fashion special and different. I’ve written about this and I believe it is right. First, if the industry slowed down, we would be a lot more eco conscious and we’d stop creating obsessive consumption and actually create unique pieces that the people would want.
And there’s the internal job of the artist, of the creative process. If they have to put out around 6+ collections every year, there’s no real time to really fill the collections with inspiration and the love of creation that designers can give to their clothes.
Should these concerns go any further, we will be seeing a change very soon.

And now, in an ode for true inspirational, magic fashion, the latest Spring 2016 Haute Couture. You’ll notice the trends (beyond the pale rose and the serenity blue pentanes), we are aiming for colors, for very sheer and see-through fabrics, with a lot of flounces and tassels, mixed textures and flowers (that can’t be left out, because it is spring)

Alberta Ferreti with her Limited Edition, inspired in the Marchesa Luisa Casati with femme fatale in the 20’s silhouettes with a strong layer of animal inspiration, specially in the accessories.

Jean Paul Gaultier gives an homage to vintage french night life in his very particular way, enjoying that he no longer has his pet a porter line, and he can go all out and have fun and make great pieces in Couture.

Alexandre Vauthier just goes out for the sensual woman living the nightlife and enjoying herself. She’s a team and she’s elegant all in one. there are some powerful statements in this collection. And a lot of red carpet possibilities.

Armani Privé gives a sense of continuing his latest Couture collection that had flowy and soft, delicate fabrics with soft prints but this time he went for the mauve tone, going for lilac. And frills, bubble skirts and dresses. And the very trendy flats with straps.

Karl Lagerfeld is going eco friendly with Chanel, or as much as the brand is able to. He went for wild cotton and other natural fabrics, without forgetting the traditional Chanel linings, mixing them up with long printed playful dresses and some 20’s inspiration.

Dior has been left without a Creative Director. The kids who were working with Raf Simmons took over this collection whilst the direction looks for an appropriate designer. And of course, the result is that the brand suffers. This collection is not bad, it is just flat, there’s nothing surprising, nothing Dior-like but the basic guide lines. I don’t see Dior doing so well this time.

Elie Saab is changing. Or at least, the inspirations have changed. India meets boho-chic this could’ve been called. And it is just wonderful. It is the proof of craftsmanship, and shiny boots that everybody will love. Enjoy the flowy fabrics, the sari-like crossing, the beading and the embellishments, the show jackets with long necks and sheerness.

Giambattista Valli also homaged Paris (due to the terrorists attacks back in November), through its gardens and its flowers. And an encore from the last collection, Remember Rihanna in the huge pink layers tulle dress? Well, there’s a new version, with a black bandeau. It is not so creative, but it is beautiful. Oh, and the skirt with the short front and the long (even train) back are back.

I just don’t really understand Riccardo Tisci. I do not like most of what he’s done for Givenchy, and lately that horrifying lamp-like dress Cate Blanchett wore and the rather ill-fitting green gown that Julianne Moore wore for the SAG Awards. That one is actually in these pictures. It is not a bad dress, but it didn’t fit the redheaded actress right.

Maison Marginal has benefited greatly from the talent of John Galliano. The designer has refrained from his popular antics in the runway, and has found a way to mix the Marginal values with his own. As you know Margiela values are a little weird, and you can add to that the magnificent Galliano creations. There’s texturing, there are weird mixes and matches and some are big. And the boots are to die for.

Bertrand Guyon has also been a good match for Schiaparelli. He seems to understand the influences and inspirations that come with the brand. And this time, food and the lobster dress were the prime focus. All the elements of a picnic, including the blanket are included in the clothes, and it is a lot of fun.

I’ve always liked Ulyana Sergeenko’s collections. They have all that russian thing going on, and also that touch of femme fatale. The first collections were a little slow, and then they picked up. These one, I just didn’t get. There were corsets, and lingerie popping out, and 80’s trends, and country dresses. There was no common thread, no sense of order. It never built up ‘cause there was no where to go.

I love Valentino once more. The fact that Chiuri and Piccioli are aiming for their roman background has made their collections just the more beautiful. The last greek-roman one was just great, and this one is also fantastic. They went for a little baroque, but they kept the feminine, the sensual, the delicate and elegant, and the beautiful accessories featuring old coins, even in the feet.

Donatella Versace has gone to the vault of inspiration and it may have not been as good as they thought. The white suits with popping bright colors and slits are a good way to go, and even some of the roman inspired dresses, also rather colorful (like the one Brie Larson wore). But then there were all those weird Swarovski straps coming and going, like tying up the dresses pieces of a dress are a little bit too much. It is going for sensual and sexy to plain tacky. Maybe it’s time to back down a little.

Viktor and Rolf, as far as I’m concerned, do not design clothes to be worn, but to be seen as pieces of art. And this time, Pablo Picasso was the biggest influence. The eyes, the mouths, the heads, even the boobs were all marked out on very white canvas. Even over the models’ faces. It is interesting how art truly translates into fashion, the way Viktor & Rolf do it.

Zuhair Murad is a master of red carpet creations. The clothes are just picture perfect, and actually really beautiful. The dresses are dreamy, and this occasion is no exception. With the corsets and skirts worn by Elizabeth I and the english court of the time, the embroidered fabrics and the lace have a huge moment. Do not miss the wedding gown at the grand finale. Another master creation of artisan hands and dedication.

 

 

 

 

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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

Haute Couture, my love!

I get really excited every time Haute Couture begins. This week really allows the whole fashion industry to dream big, to turn fashion into art, and to determine almost every trend that we’ll be seeing the next year.

And this is sure a very particular Haute Couture Week. Giorgio Armani avoided his usual extra minimal creations and shocked in pop pink, metallic shades and fluffy coats. Karl Lagerfeld designed a jacket with 3D laser for Chanel, and celebrated his 50th anniversary as Creative Director of Fendi with a collection that has PETA crawling up the walls.
Viktor & Rolf showed literal “Wearable Art”, modifying the creations directly on the runway.
And trends are running a little wild for Fall&Winter 2015. A LOT of flowers and bright colors, specially bright pink, orange and gold. There are tons of sheer fabrics and cut outs, with those 70’s silhouettes that most brands hinted last season. 70’s is going on strong and fluorescent 80’s are well on their way. Also, Fur. Fur everywhere. Not only on Fendi’s Haute Fourrure collection, but almost in every runway, so get ready for some serious PETA fury, and tons of horrific posts on every single social network.
I have to say, this is some great Couture.

Karl Lagerfeld celebrated his 50th anniversary leading Fendi. This is also the first time the Roman based maison has a Haute Couture collection, which makes it even more special. Since the announcement, The Kaiser called it “Haute Fourrure” given the amount of fur he would show, and he was not kidding. This collection was different to the rest because it was mostly black and white, mixing chinchilla, sable, mink with feathers, seemingly plastic fabrics, diagonal lines and thigh high printed boots.
This is luxury and excess at its very best.

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What can you say about the Enfant Terrible of Fashion? Jean Paul Gaultier decided to stop working on his Pret A Porter collection and give his full attention to his Haute Couture. I’m sure there a lot of women disappointed, but the man is just as talented as he’s ever been. The collection has a clear nautical influence, but it is colorful, filled with gold-thread embroidery and with big weird head pieces. A lot of geometrical cuts, mixed textures and fun. You could feel the positive, fun emotion that surrounded the creations.

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I have to be honest. I’ve never really liked a Viktor&Rolf collection, and maybe because they have this abstract art vision towards fashion. This particular collection made that statement obvious. The pair has also ditched their Pret A Porter collection to focus on their “Fashion is Art” concept. They called this one: Wearable Art, and it could not have a better name. Viktor and Rolf were over the runway, fixing the dresses right there. You can see it.

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Alexis Mabille elebrated 10 years as a Couturier and has received the Chevalier des Arts et des Lettres distinction. For this collection he called 15 of his muses, among them Ditta Von Teese and Berenice Bejo and portrayed them as the true people who wears these clothes, as the heart of couture. Photographer Matthew Brookes made an awesome job.

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Elie Saab has a very clear formula for his collections. He’s Red-Carpet-perfect-choice. The sequins and beads embroidered dresses with that ethereal feel and princess-like luscious fabrics makes you feel like you could wear each dress to just be around in your house, and feel like you’re the queen of everything. This time, Saab tried some palazzos which is the novelty, and those black gowns with the flowers… Trust me, we’ll be seeing a lot of these on the red carpets to come.

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Maison Margiela was without a doubt the place for John Galliano to make a full come back. The ability to experiment with fabrics, textures, images and contradictions that already came in the DNA of the maison were just the place to bring back the immense talent that Galliano has. And when I say contradictions, I mean a dress made of what could have been a bag for potatoes, to “origami-like” printed dresses

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Alexandre Vauthier chose Los Angeles as the muse of this collection. And fringes, fringes all over. At the edge of a dress, from the belts on the shoes. It empowers a woman who wants to feel like a sexy rockstar with cut outs, thigh high slits and super short skirts, very LA if you ask me.

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Mr. Armani shocked his audience as he drifted away from his usual minimalistic ways towards a very early 80’s bright colored collection, with a Punk feel to it. Filled with feathers and bright sequins, blue, green and pink over green and making an ombre appearance. It was an odd choice for Armani, even though the silhouettes of the gowns and the jackets clearly had the Armani seal all over.

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Bouchra Jarrar up until now, designed for the working every day woman. And the clothes were beautiful and functional, but this time she went for a younger woman, with crop tops and pleated sheer skirts over short ones. There was a lot of fur, even in the crossed crop tops, mixed with big waisted pants.

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This Fall, Chanel was showing in a Casino. Kristen Stewart, Geraldine Chaplin, Rinko Kikuchi, Rita Ora, Lara Stone, Vanessa Paradis and Julianne Moore played at the tables, while the models walked around with Lagerfeld’s creations.
Since he also showed his very first jacket cut out by 3D laser, the whole collection had that “machine over man” theme going on. With a classic Chanel and incredibly oversized coats and jackets, but doll-like cheeks, lips and hair.

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My dear Giamba, always so beautiful and so great. Giambattista Valli has this classic italian work and he mixes it with his inspirations. This time, he went for Talitha Pol and Syd Barrett, some psychedelic view with bright colors and textures, and those huge dark shades. From the short feathered dresses, to the long and incredibly big fluffy gowns and that long black dress with flowers. You just fall in love with all of it.

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Alberta Ferretti is also a new addition to the Haute Couture Week, with her Limited Edition line. And I saw this one before, and I think it is perfect. It came out of a glorious french palais, and it actually did ‘cause Alberta has moved her atelier to a french chateau, that once belonged to the Rotchschilds, at Rue Faubourg Saint Honore. It has the baroque, and the feminine. It is delicate and sweet, and it has an immense amount of artisan craftsmanship. It is beautiful.

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Raf Simmons has taken his place at Dior perfectly, I just don’t think this was his best work. The environment created for the collection was a sign for big things to come, and yet I was not that greatly surprised. The big coats, the white loose dresses, that seemed like old night gowns. The crystal sequined dresses, and the ones with the flowers were nice, but for me it felt a little lost. Like the pieces didn’t quite match.

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I believe I forgot that Marco Zanini left the creative direction of Schiaparelli, and from here, it looks like the very best thing that could’ve happened to the brand of my dear Schiap. Bertrand Guyon stepped up and took over the collection, and I think this one has got it right. The values, the muscles that conform the Schiaparelli brand. The quirky and the elaborated, from the prints on the dresses to the head pieces, the diverse influences, the man has the right idea.

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Ulyana Sergeenko has gone from really weird to chosen by Rihanna for her crazy videos. The woman takes all her inspirations from her homeland, this time from the Soviet Russia, with a very elegant point of view and a naughty one, with sheer pieces and showing a lot more skin that ever before. Maybe that’s another reason why she caught Rihanna’s eye.

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I’ve said ti before, and I will say it again: Donatella has made some great work with Versace. She’s kept the theatricality that Gianni had, but the clothes have a lot more understanding. They are sexy and bold, and yet they have that quality, that feminine trait. This time, Donatella went full 70’s flower child, with a twist. 25,000 orchids filled the crystal runway, as they made the silhouette of the Versace Medusa on the back, where all the models came from. And they had flowers on their heads, and their backs and they seemed to form the strings that kept the pieces together. It was simple and strong as most things in nature do.

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When Versace met Givenchy

This is the latest Givenchy Ad, featuring the Creative Director of the Italian house of Versace, Donatella Versace.

Donatella has turned Gianni’s creation into a bigger, international and far more accepted brand than it was when he was alive. Let’s not take this the wrong way, Gianni was a genius and a true fashion talent, but his heart was set on bigger creations, costumes for theater and opera. He aimed for something far more theatrical, something that allowed him to dress up everything and everyone. His brand would have soon become very small for him, had he had the chance.

Donatella has had better vision to grow the brand, it already has a place again on the Haute Couture Week. And it has a very strong presence in almost every red carpet around the world.

Plus, and this you can take as me being a little biased, they are italian, and I happen to love almost everything italian.

Italians have this way of being really attached to their traditions (something I can relate to as a mexican), and they stand together, most of the time (and Mexicans should learn some of that) So it makes some sense that Ricardo Tisci chose her as Givenchy’s face for the latest ad campaign.

And I also believe that this is also a sign for the largest maisons standing together as the true origin of fashion and trends, and not as irrationally fighting fast fashion, which they can’t and shouldn’t.

There’s a ton of messages to be read from the image, but it is certainly interesting

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Rihanna for Dior

After all the buzz of Rihanna being portrayed in one Dior campaign, the images have finally been released.

Take a look at Dior’s secret garden with Rihanna.22296_973506286027791_7615508625433389731_n 10641257_973506249361128_4929845920522802355_n 11011547_973506279361125_5480032169089377014_n 11078213_973506199361133_2979301597716631761_n

Dreamy Haute Couture

Yesterday was the last day of Fashion’s true dream-like event: Haute Couture.

In spite of them being shows of really unattainable pieces, this is where fashion finds its true art and inspiration. This is where the designers become couturiers and true masters of a very particular craft. This is where the word “trend” finds its true meaning.

And if you paid any attention, in the not so far future we will be dressing with long puffy skirts, a lot of sheer fabric, flowers and lines filled with color. We will see a lot of rock inspiration mixed with very girly, seductive traits, with fabrics with a liquid quality to them, with a lot of flow and movement and tons and tons of layers. Metallics, sequins, beadings and quite intricate embroidery will also be part of the inspiration for Prét a Porter’s season to come.

Karl Lagerfeld is a true master of fashion’s constant  innovative state. The man knows how to mix the always perfect tweed and the four pocket jacket, with an almost day to day clothings. In this runway he chose to make a gigantic flower garden that took 6 months to be made. And of course, as the flowers are colorful and sometimes big, so were the clothes. He keeps on pushing the crop top, which I don’t really appreciate, but it’s not everywhere. Playing with ate 60’s and 70’s silhouettes, there is quite some layering going on, and some fringes with sheer tule or organza.

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Of course, the novelty and highest of fashion news for this particular week, was the return of another master: John Galliano, for Maison Margiella. The french maison has been going under a lot of changes. The Martin has been dropped out of the original name, and went for the Dio disgraced designer to bring some of his incredibly talented eccentricity to bring the maison to this moment without loosing its values. That kind of job Galliano knows like the palm of his hand as he had to make it last for Dior for quite some time. So, yes. We saw all those crazy masks, and those face-like additions to some of the dresses. The mixing of textures was out of this world. And I surely believe that this will mean Galliano’s full comeback to the scene that once casted him away.

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Marco Zanini was let go from Schiaparelli and the team that was left behind has been taking care of the italian designer’s legacy. I have to say that I’m not sure anyone has completely gotten Elsa’s gist, an that is kind of sad. Then again she didn’t left too much to make a full brand with. So people are trying and this collection has been the best to date. Mixes the hats, and the dresses correctly, and also brought the brand to this actual moment, with the crop tops and all. But you’ve got to respect the colorful clothes and the amazing craftwork behind them.

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You all know how much I’ve praised Donatella’s latest job at Versace and Atelier Versace. I believe this time she went a little too far. She was insider in the female body, so no straight lines were found in any of the pieces. But there were too many cut outs to a point where the dresses went back to that tacky well-known Versace moment. There are somethings that can be rescued: the long jumpsuits, with asymmetric cuts on the top, the pant suits, the playful short dresses with shiny embroidery, and some of the not so show-off dresses. Blue, red, black and white were the color palette she chose.

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My dear Giamba. Always so full of strange ideas. The man got his inspiration from that MET exhibit named “Impossible Conversation” a One on one with Elsa Schiaparelli and Miuccia Prada. He thought he could pull of something like that with Coco Chanel and Janis Joplin. And the results are debatable. He has that incredibly elegant seal that marks every single one of his collections. He works with layering as Joplin did with dresses and pants, and he uses massive amounts of perfect tulle to layer one of his spring matching gowns. Huge capes covering jump suits and dresses with 70’s silhouettes, and with that medium face veil so lady like. It’s just plain odd. It’s colorful, its playful, but it’s also confusing because Chanel and Joplin just wouldn’t have matched so well.

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Another designer with a rock inspiration was Raf Simmons, but his approach was completely different. Simons went for the chamaleon himself, David Bowie. The first pictures I saw of the runway, I just could not understand. The psychedelic skin tight jumpsuit and shiny high boots and those big fluffy tulle skirts. But once i knew where he was coming from everything made total sense. And he’s also channeling this constant evolving that fashion has to have, with the Bowie reinventions. Such a new look for Dior. The brand saw its legacy completed with the very feminine dresses. Raf also went for the layering with a type of crop top over the body of the skirt. He did this at the latest runway, but these ones are improved.

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Alexandre Vauthier went for the whole party with his brand new couturier naming. His collection went all rock&roll with plastic fabrics, strategic cut outs and a couple of pieces that seemed to come out of a mirror ball. It is a nice collection but not if you’re trying out your couturier name. It’s for the woman who will be partying for quite sometime.

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I’ve yet to understand the talent of Maria Grazia Chuiri and Pierpaolo Piccioli. I don’t think I’ve liked one complete collection since they took over Garavanni. But they have somethings that I appreciate and this collection has them. Flowy delicate gowns with very elegant and flirty details such as stars or poems written on them, or a soft touch of a rainbow. Percy lines at the necklines, and I make my point with this black velvet gown with a neckline that looks like wings. But velvet for spring? Seriously? The other part of the collection had that “coming out of medieval times” touch, with intricate embroidery which is hand made by very talented artisans, but it was like going from medieval to renalssance from one outfit to another. That part They could’ve saved us all.

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Bouchra Jarrar had chosen to empower women in their everyday lives, staying away from red carpet seasons or any place that you had to see a gown. Apparently, Jarrar has finally given up on this thought and finally has noticed how much help the artist provide by wearing your brand. So she had pant suits with fur and short dresses with a weird amount of zippers, for everyday activities, and made a very silky gown with a sheer cover and some beading. It is not Elie Saab or Zuhair Murad, but if she puts her head into it, she might a lot better.

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Armani decided a long time ago that he didn’t need to follow any trend but his own. That being the asian thing he has going on, even when he says the inspiration was just the bamboo, those kimono jackets and the huge vertical bows have “japanese” written all over them. He went from his very well known pant suits with crystal beaded black and navy blue jackets, and gowns with the bamboo stamped all over, in green or black. The sheer with Armani, never means showing too much skin, or any for that matter. He just layers it and gives that seductive airy quality to his pieces.

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Ulyana Sergenko is inspired by her own country’s history and I find that very interesting. But she’s loosing aim. Women do not want to look like matrioska dolls, they wanna be a little comfortable. And there are only 2 or 3 outfits that do not look like you can’t even move. It’s a fun runway to look at, I just don’t think it’s such  great idea for the real life.

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Jean paul Gaultier is enjoying himself since he shut down his pet a porter collection. This “61 ways to say yes” collection is the proof. These are 61 one ways to say yes to everything thats good and fun in life, not only to get married. It is meant to say yes to sex, to first dates, to new things, to new places, to new identities, to acceptance of the self, and Naomi Campbell was the big fancy bouquet.

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“There are strange evenings when flowers have a soul” Albert Samain wrote in 1893, his poems and his symbolism were the great influence in the Alexis Mabille collection. He aimed for flowers, but not the way Lagerfeld or Simons do, this was a darker side of the spring icon. Black lace and feathers, mixed with black and blue sequined gowns, capes and even a touch of hot pink and a huge bow completed his outfits.

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Viktor and Rolf also went for the full on bloom floral spring, with baby dolls. And over sized (which I believe to be an understatement) head pieces. The flowers were everywhere like the “flower bomb”, because those outfits did look like a greenhouse exploded. But let’s face it, it is Viktor&Rolf, it is eccentric and weird.

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Zuhair Murad and Elie Saab, the masters of the beaded and embroidered red carpet ready gowns.

Zuhair went for water as inspiration, because the dresses moved along and seemed dripping with beadings. Yet, there were blue, green and yellow pieces, along with the crisp white he chose to begin with.

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Saab went for the golden age of Lebanon, filled with joy and parties. He even threw a trip print, which is so unusual to the Lebanese designer. He went for feathers and beads, he mixed the textures to make a stronger statement.

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Couture going on fashionably street

I recently read that if fashion is made out of details, Cuture is made out of dreams. And I firmly believe it. Couture is the fabric of fashion’s biggest dreams.
And it has been proven over and over, now that Couture is going a little street to become a little more modern and a little closer to everyone.
Couture can be inspired by anything, There’s Gaultier who chose vampires, or Raf Simmons who took orchids and Marie Antoinette, or Ulyana Sergeenko, who’s closest inspiration is her motherland Rusia. This time, the revolutionary with a ton of silky fabrics.
We all know that Couture is only available to very few people who get to pay and wear the master creations, but it is also a source of endless inspiration for the more down-to-earth brands and for all of us who understand that fashion is creation, is communication and human expression at its best. And it is artisan craftsmanship work designed by a master fashion mind that makes us dream.

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Alexandre Vauthier is always a constant surprise and delight. He’s all for empowering women, making them look sensual and daring. This collection is not an exception, asymmetric cuts, down-to-the-belly-button necklines, high slit dresses, cut outs and crop tops, he went for a little rock inspiration with a touch of yellow and a spat of embellished very short red dress.I’m pretty sure the geometric patterns haven’t left us completely, since there are some harem pants with that fabric, but it’ll go out quietly soon.

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Bouchra Jarrar went also for the 50’s inspiration in a more true-to-date approach than Donatella. Of course, these pieces are far more tailored and more mixing masculine and feminine, with the bicolor man shoes. asymmetric bicker jackets, with flowy soft skirts and the perfecto pants in flawless satin. For Bouchra it’s just always simple elegance, in a woman who wants to try somethings new, but not go too far.

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The Kaiser again took Chanel to a new place, with the inspiration of architectonic works of Le Corbusier and avoiding the tailoring all together with fabric and intricate sequined pieces glued with silicone, as well as working with materials such as plastic, and suggesting sandals for winter. Then again, this si Karl Lagerfeld we’re talking about, and he can chose to put shorts under short skirts and a pregnant model bride to close his magnificent runway. Do not miss the golden embroidered dresses, the seined and very embellished details and the red. Here are the new trends.

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Unlike John Galliano, who was always up for a good dress up, Raf Simmons goes for the concept that Couture shouldn’t be only for special occasions, but for a daily life use. That is if you are talking about coats, simple dresses, and tailored pants that can be matched with a blouse and things that you can actually wear rather than a huge 18th century Marie Antoinette inspired dress or massive fur coats. This collection is rounded and complete, it is not what you’d expect from Dior, because most of them are just easy, every day wear. But as I was telling you, Couture has now started to take that path.

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My beloved Giambattista. Always going for eccentric looks, inspired this time by moorish and spanish tradition, as well as old Hollywood glamour. A little of a PJ’s wink and a lot of big colorful full skirted dresses, with stripes and embroidered flowers.Those petals and the mohair are just so out of it, and yet so beautiful. We will definitely be seeing a lot of Valli at the red carpets to come.

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As I warned this would happen, Maison Martin Margiela has gone for some creations a tad more wearable that all that crazy which with the mason started. This time they were playing exquisite corpse, which used to be a game surrealists played, by adding a part to a drawing in paper, an d then passing it along to somebody else who had no idea what was there, or what had been added. So yeah, this has Margiela written all over. Again repair in the very beaded, sequined work, we’ll be seeing a lot of that soon.

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Alexis Mabille has gone for the Susan Sontag’s feminine and masculine paradox, or so he said, because the collection is very girly in an old hollywood glam kind of way. To the exception of one pant suit, a huh waisted short and a skin tight jumpsuit, the rest are just perfectly crafted gowns and dresses. Maybe he got the idea wrong, but a job perfectly executed.

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Armani will always go to his comfort zone to start a beautifully crafted Couture runway. The red Lacquer was a main ingredient even when he started with pant suits and very elegant, classical skirts and jackets. And then all went sparkly beaded and tulle madness, with the red as the connecting threat of it all. It’s an experimental ground for everything to come, Armani has left it clear.

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I love Elie Saab, please don’t get me wrong, but he has done the same dresses over and over again for quite sometime now. Tha Couture collection is always aiming for night or formal events, specially those with a red carpet in them. Now he decided that pearls would be the perfect beading for his creations. He’s also going for short dresses for a cocktail event, some ombré effects, and stripes and sheer fabric. But it’s the same thing we’ve been seeing for a while.

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Ulyana Sergeenko went for a dark period at the russian history for inspiration. The time when the last czar was overthrown and the Soviet Union started. It could’ve been more believable if it didn’t all look like femme fatales and James Bond-Like spies. It will remind you a lot of Jean Pal Gautier’s corsets at the beginning of the 90’s decade. She’s going for the right direction, but she needs to find her own voice, sooner rather tha later.

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I have not liked the latest job of Pier Paolo PIccioli and Maria Grazi Chiuri at the head of Valentino. But I am always moved by those who chose to be inspired by their historical roots. This time Chuiri and Picciolini took inspiration from the 19th century reprise of roman togas and pre raphaelites, going back to nature and beauty. Even the production on the runway suggested it right away. This si a much simpler, nicer collection.

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Silver, turquoise, navy blue, and red were the primary tones at the Zuhair Murad architectonic inspired collection, with some geometric patterns and some very structured dresses. The more beautiful ones were those skin tight and the short ones that aimed to a younger type of client. Because, then again Murad is having the Elie Saab Effect, going for his classics, over and over.

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