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Gone were the masses of spectators. Gone were the elaborate sets. A modest, rococo fireplace stood below decorative, hanging mirrors and a simple, white concrete wall surrounded the airy space, whilst natural blue light gleamed down from the skies above. A palette cleanser to say the least. Held at The Grand Palais, the Chanel space alone certified the whispers amongst the FROW (front row) that haute couture times are changing.
“Le Corbusier goes to Versailles!’’ Stated Karl Largerfeld at the opening of the Chanel Haute Couture Fall/Winter 2014 show, “modernity with baroque elements!” A combination of modernist ideas with 18th century excessiveness made for a juxtaposition like no other.
Structured dresses and skirts, inspired by Le Corbusier’s minimalist approach, were the basis for the sophisticated embellishments that ruled the show.
Signature Chanel tweeds were abundant (as expected), however, they took us to a time when treasured jewels spoke a thousand words. 18th century brooches were blown up and replicated using embroidery.
As expected with Chanel, there is always something that creates a stir and this season was no different. Karl helped certify the Kendall Jenner fever by casting the ‘it’ model for haute couture runway debut.
The modern takes on these historical style garments saw Karl’s latest obsession: concrete, featured in small blocks amongst the embroidery.
There were also plastic elements and feathers incorporated into the garments, which showed off the construction and workmanship of haute couture.
Karl also cast another ‘model of the moment’, Ashleigh Good, also mom-to-be! The final look is the most controversial bridal couture gown in the history of bridal couture.
At seven months pregnant, Ashleigh Good glided down the runway in a gilded, white, empire-neck crepe de chine gown with Karl hand-in-hand.
This show was a celebration of female power, strength and womanliness. Chanel fans all over the world will be wooed by the Chanel charm, it’s what dreams are made of.
Two of our favs #jaredleto #karllagerfeld at #CHANEL #ss14 #ss15 #hautecouture #chanelcouture #hautehippie #celebritycouture
FINALE #CHANEL #hautecouture #fw14 #fw15 #pfw #paris #finale
Picture 1950’s housewives on vacation in the South of France, the Mediterranean or Morocco and you will envision Giambattista Valli’s latest couture collection. The Giambattista lady is a delightful mix of a modern day Audrey Hepburn and a 21st century Betty Draper; a natural elegance is key.
A pale-carpeted runway gave nothing away as the audience eagerly awaited for the drama to begin.
Coveted model, Kaitlin Ass opened the show in a wildly sophisticated 50’s style dress.
Shift dresses and cocktail dresses emerged in grand numbers and were folded and draped with the drama only present at couture fashion week
Stripes galore ran through the collection, in mostly black and white, adding a playful spin to elegant ball gowns. Despite the historical elements in the collection, numerous looks were given a modern twist with the use of reflective fabrics and surfaces.
Giambattista played with the idea of the corset, which stood out in chiffon gowns worn with bodysuits underneath.
When paired with fluro floral motifs, this classic monochrome pinstripe was given a thoroughly modern twist.
Classic, pointed stilettos, cat-eye sunglasses and bandana’s took the crowd to a time when glamour was everything.
The show slowly moved from the 50’s to the 70’s where silhouettes became fluid, luxe and relaxed with that 70’s ease we can only dream of. The wild cards were the furs, electric purple longhaired furs and monochrome furs worthy of Cruella de Ville.
Costume jewellery took centre stage, reminiscent of Loulou de la Falaise during her Moroccan adventure with Yves Saint Laurent.
Feminine, floating full-length skirts were paired with over-sized crisp masculine shirts for an androgynous take on couture.
Styling details were down to a tee with rolled up trousers adding a sign of casual youth to frilly, full-length skirts.
With an unexpected twist, there were ultra-modern, floral digital prints covering work-wear looks head-to-toe.
The finale was electric, as dip-dyed extravagant gowns appeared one after the other, like a never-ending rainbow and model of the moment, Manuela Frey gracefully closed the show.
“The look is very young, it’s very clean. It’s very Giambattista,” said make-up artist, Val Garland before the show. The designer’s response was, “My customers… I can say 28 to 38 is the core.” Times are changing and the middle-aged woman is no longer the couture buyer, there is now a new generation of couture. An ethereal collection for the ‘new couture customer’ describes Giambattista’s Fall/Winter 2014 Haute Couture collection best. This collection is a standout and Giambattista Valli is a true master of time.
Step into the world of Dior Haute Couture; a creation of fantasy, dreams of luxury and a show like no other before. Two years into his position as Creative Director at Dior, Raf Simons is taking the legendary fashion house to a whole new level.
As star guests, Charlize Theron and Sean Penn whispered sweet nothings, fairy like models filled the wildly tranquil space with their fluid movements, as if they were all Cinderella at the ball.
The Haute Couture Fall/Winter 2014 collection was shown in a vast circular catwalk, surrounded by orchid covered walls in the gardens of the Musee Rodin; the perfect location to showcase ‘a collection fit for royalty’.
Simons successfully acknowledged and reserved the heritage of the brand whilst keeping it relevant to today. ‘‘Confronting what people now think is modern,’’ - Simons stated in the shows notes - the designer took pieces from the Dior archive and reinterpreted them with a combination of historical and modern elements.
Simons displayed this collection as his most masterful yet as he challenged up to four centuries of style. The show offered a walk through history, with a mix of 18th- century inspired dresses, Edwardian masculine court coats and 1920’s style flapper-esque dresses. The show was presented in series of 8 distinct chapters, which showed off the time travel through history.
Fabrics were extravagant and the attention to detail was almost pedantic.
Among the many stand out looks of the show, was the ornate justacorps jacket, with a matching gilet fitted underneath. These were paired with a modest black tunic and trousers. This look defines the couture era of today, modern versus historical, backwards versus forwards.
There were full-length fur coats in mink and chinchilla and parachute silk boiler suits covered in sophisticated metallic embroidery.
A sorbet coloured palette made for a refreshing take on couture.
Observed by a front row of the most influential figures in the fashion industry, it was not only the couture gowns that dazzled guests, as the Arnaults, Mario Testino, Charlize Theron and Bianca Jagger perched admiringly amongst other A-listers. This 60 looks collection, that’s double the length of your normal couture show, is the one to beat by the other couturiers showing at Haute Couture Fashion Week.
Photo Credit: AP Images
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FW09 Fitting with Snejana Onopka (photo by Autumn de Wilde).
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