The Paris Haute Couture Church is back, and although it may have been plagued by the epidemic – for example, Giorgio Armani canceled his indoor show – a host of spring / summer 2022 handicrafts, to date, deserve it. linda.
Paris Haute Couture Week is a bi-annual event that takes place in the city of Paris, France. It is a showcase of the latest in high-end fashion, featuring collections from some of the world’s most renowned designers and fashion houses. During this week, the most exclusive and expensive garments are presented in runway shows and private appointments, offering a glimpse into the luxury and craftsmanship of haute couture. The event attracts a high-profile crowd, including celebrities, fashion editors, and industry professionals from all over the world. Paris Haute Couture Week is considered one of the most important events in the fashion industry and is a must-see for anyone interested in high-end fashion and luxury.
Undeterred by the excuse of showing off her tulle prices, Giambattista Valli took a big step forward to combine her haute couture collection with her pre-autumn 2022 look.
Arriving as only 18 looks, featured in a Covid-ready film, the two stages go well together. The pre-autumn dresses were notable for their comparative simplicity, but they were still intricate romance (this is Valli after all) and consisted of a small dress tied in pale pink, finished with a train and a large bow at the neckline, or culottes and a cropped top with black black sleeves. Cleverly wrapped around the neckline, it was well established.
Inside was Valli’s specialty: beautiful, glamorous clothes that left the viewer frustrated by the lasting joy Valli had made his own. Think of a 1960s-inspired faux look in a rich gold-plated brocade covered with feathers of fluffy feathers, or an amazing dress with a full skirt of shiny black silk, with lots of feathers and a bow, and it looks like an alluring inch.
The other look gave a new look to the worn-out dress, taking the tail higher than before and pairing it with silver trousers. There was a bright, pink, and loose-fitting coat that suited the bride and wrinkled silk skirt. The naked dress was particularly pleasing, with miles of tulle tied at the waist and wearing boots that reached to the thighs.
If Valli was talking about an imperfect, attention-grabbing love affair, then the recent contribution from Dior was exactly the opposite, instead bringing a collection of clever treasures.
In this release, Maria Grazia Chiuri has revived India’s embroidered heritage dating back centuries and rivals of any couture house, by combining the Musee Rodin exhibition space with great costumes by artists Madvi and Manu Parekh. Covered with a bright, vivid image, each made by hand from the Chanakya school, which trains the next generation of craftsmen and artisans. To provide an overview of the work involved, 380 artisans worked 280,000 hours embroidering panels covering 340 square meters together.
Against such a clear background, Chiuri brought a collection that was edited backwards and played a bit dramatically, it became a revelation. Such cuts, of course, demonstrated the deep complexity of the couture, as well as the great skill of the Dior atelier in creating a cream-like look, a one-button suit, where the jacket was cut to reveal trousers with a low waist, or a simple low-cut skirt under a collarless sheath, so So the artistic cut looks immeasurable. Or a round coat with cap sleeves, also cream, cut into four pieces of fabric, while bar jackets, in both cream and black, wrapped around the waist without any kind of restraint.
In the evening, similarly simple silhouettes were embellished with loose beads, such as a white hobble-covered silver dress and a embroidered dress shirt, as well as a beaded, soft gray bead. Best of all were the liquid, backless silver lamé dresses that echoed the stunning beauty of the silver screen. At first glance there may be a small balance between large, colorful wall hangings and a clever, hidden look on the runway, but they both talk a lot about craftsmanship and techniques.
As a house steeped in surrealism, it seemed fitting that Daniel Roseberry, art director of Schiaparelli, should look to the heavens for inspiration this season, especially the planetary bodies we travel around the Sun.
As a last resort, Roseberry and her team sometimes translate these planets literally, such as a gold-plated body piece, with Saturn bronze rings, or a hat embroidered with a hat and cuffs adorned with rays of sunlight. Elsewhere, there were hats around a small planet, even silk columns that were strong and left to float on their shoulders.
The gold accents shone on black goods, such as unusual pieces, twisted stones, ornaments, or bags made of a woman’s head. One coat even came with metal straps that exploded at the neck, and hung down like a giant metal jellyfish. Strange? Yes. Surreal? Absolutely. But it was also beautiful and lifted us, albeit briefly, from the misery of planet Earth.