HIGH FASHION WEEK - GRAND WEIGHT FOR THE WHOLE FASHION INDUSTRY. AND HER MAIN PARTICIPANTS - TRUE Couturier MASTERS. EVERY TIME THEY AMAZE WITH AMAZING IMAGES AND DELICIOUS WORK. CREATIONS PRESENTED FOR AUTUMN-WINTER SEASON ONLY ATTACHED THIS DOGMA.
Chanel
Once, Coco Chanel invited guests to her studio at rue Cambon, 31 to showcase her collections. To this day, to this day, starting in 1915, Chanel workshops have been located. Karl Lagerfeld dedicated his show to this citadel of creativity, handmade and exclusivity. He recreated the legendary creative space in the Paris Grand Palace in the smallest details: with cutters' tables, sewing machines, mirrors, mannequins, sketches. Usually, only a select few can enter the haute couture holy of holies, but this time everyone could look into it. A distinctive feature of the collection was a simple geometric cut. It is most clearly expressed in simple silhouettes with a sloping shoulder line. A tribute to another House legacy is the prevalence of tweed. Mikado fabrics, radzimir, crepe chiffon, silk, taffeta and the visual heritage of the English graphic artist Aubrey Beardsley were chosen for evening dresses. Black and white ensembles with black and white circles as a print, silhouettes with lush shoulders and hem from feathers - yes, that's it!
Atelier versace
Donatella Versace retained a passion for asymmetrical cut, while adding to his draperies for the first time. They are everywhere: on dresses, tops, jackets, coats. Especially impressive were the color combinations. So, the show was opened by the British musical diva Karen Elson in a powdery pink coat with mint lining and a burgundy bustier dress. Other, equally attractive combinations are pale blue and wine tones, pale violet in tandem with cream and gold. Femininity in its highest manifestation is in the image of Aphrodite, since many outfits suggest direct associations with the sea, waves, fish scales and even with fishing seines.
Christian dior
While the position of creative director was vacant, the leaders of the atelier of the House, Serge Rufier and Lucy Meyer, were temporarily in charge of all the lines. The replacement work, it should be noted, was a success: both the prêt-à-porter and the haute couture of the Christian Dior collection were very successful. Despite the black and white gamut, these collections do not look boring at all: it’s interesting to see how designers interpret the legendary New Look, invented by Dior in 1947. For the most part, these outfits are another reincarnation of Bar code jackets and a fluffy skirt on a thin waist. It sounds like a reminder: no matter who is at the head of the House, his DNA and the skill of designers are unshakable.
Elie saab
Couturier clearly headed for a younger clientele. This was especially read in his autumn-winter collection prêt-à-porter and was finally confirmed at High Fashion Week. The Lebanese master presented images for mothers and daughters - almost identical dresses of delicate work. But it’s not even about the children on the podium. Aesthetics are changing. For example, skyscrapers of New York or placers of hearts appear on things. Yes, they are still skillfully hand-embroidered with bugles and sequins, but there weren’t such prints before. More expression, more contrasts are what the modern generation lives on. Whatever the age approach, Eli Saab does not betray the main thing: the filigree work with embroidery and appliqués - that in which it is difficult to find equal.
Valentino
First of all, the public's attention to the collection is dictated by the fact that it was the last joint creation of Maria Grazia Curie and Pierpaolo Piccioli. The design alliance has existed for almost three decades, reaching the zenith of fame precisely in Valentino. Now the creative paths of the two designers have diverged: Maria took the reins of creative rule at Christian Dior. However, the haute couture presentation of Valentino, which became the swan song for the duo, was not reflected. The collection is dedicated to the 400th anniversary of the death of Shakespeare, whose work is inextricably linked with Italy. It is enough to recall “Romeo and Juliet,” “The Merchant of Venice,” and “Othello,” to explain the reason for the fashion designers' appeal to this date. Actually, in the spirit of the times of Elizabeth I, during the reign of which the writer lived, they kept the line. Raffa collars, waistcoats, lantern sleeves, camisoles, closed dresses, A-line skirts, skinny trousers, high boots, dominance of black, white and red colors - this is the essence of the Renaissance style.
Armani privé
The king of red carpets presented a collection in which black prevailed. Actually, it is he who becomes a frequent choice of celebrities for special occasions. So the first hit in your audience is a bullseye. The second hit is in the trend of wearability of things. The ensembles are not heavy, not sophisticated. On the contrary - laconic, balanced. And so expertly tailored that even lush peplum or sleeves-flashlights look easy. Here it is, a simple elegant chic, suitable for special occasions day and evening! In almost every ensemble there was velvet, which looked doubly advantageous with Swarovski crystals.
Fendi
Whatever Karl Lagerfeld and Sylvia Venturini-Fendi demonstrated at their show, it would still go down in fashion history. It was the most ambitious show of the entire Week. In honor of the 90th anniversary of Fendi and the end of the restoration of the Trevi Fountain, which was sponsored by the Italian House, the show was held ... in this very fountain. The charter brought honored guests from Paris to the Eternal City, where they saw models defiling on a transparent catwalk above the water. By the way, within the framework of the High Fashion Week, Fendi is better positioned as a haute fourrure, that is, “high fur art”, since fluffy material is the brand’s visiting card. With him, he, in fact, began. Therefore, what the label masters do in this category is truly unique. As a primary idea, the "great Karl" took illustrations from the collection of Nordic tales of 1914, "East of the Sun and west of the Moon." And what did he do? These paintings from mink, this artistic carving on karakul, these fur applications on the finest materials, which took thousands of hours of handmade work, will most likely be exhibited in the Museum of the House in the future. And not only there.
Ulyana Sergeenko
Lurex leotards with the letter "U" represented in this collection have already become a must have of the season. This time, designer Ulyana Sergienko was inspired by the 60s in the USSR - the time when her parents were young and when new synthetic materials (including Lurex), miniskirts and trouser suits appeared - like an echo of emancipation. The faith of the sixties in a brilliant future, the designer conveyed an abundance of flickering things, and their fascination with science and its achievements - costumes in the "professorial" spirit. In order to finally consolidate the emotional and aesthetic connection of the new collection with that era, the song “I Walk in Moscow” was chosen for the final release of the models. There is no iron curtain: in dresses from Ulyana Sergeenko women of fashion walk along the White Stone and all other capitals of the world.
Text: Marina Motor
