p38_Layout 1 - Kuwait Times

Models wear creations for designer Giambattista
Valli’s Spring-Summer 2015 Haute Couture fashion collection.
Model’s hair was collected in a chignon,
from which a hoop hung, holding in
place a disembodied cosmic fake blond
ponytail. Barbarella would be proud.
Valli’s flower women
It’s not just at Dior; Italian designer
Giambattista Valli excels in channeling
flowers. It’s dangerous ground to tread
on to compare designers to one another. Yet trans-pollination is ubiquitous in
Paris. So I’ll say it: There was more than
an echo of the age-old Parisian house in
the Italian designer’s Monday show in its
full skirts, large peplums with echoes of
the Fifties, diaphanous tulle and floral
But they were only echoes. Valli
owned the styles completely, and with a
more muted pastel palette - he stunned
with the most ambitious couture-work
seen all day.
Elizabethan ruffs pushed the silhouette in a northern direction from the
neck, or brought it down with net visors
that covered the top part of the face and
Fifties head bows. Skirts in incredible,
billowing, voluminous A-line white tulle
had guests audibly gasping. It’s coming
up to 4 years that 48-year-old designer
Understandably his show is among the
calendar’s most eagerly awaited.
Dior’s back to the future
ith “Star Wars” actress Natalie
Portman in the front row, the
space-age theme - as imagined
from the climate of the 1960s space race
- was particularly prescient at Dior’s
show. White scaffolding held in place silver-mirrors that constricted guests like
in a spaceship, and designer Raf Simons
called his couture show “an alien journey
through the past’s ideas of the future to
reach the point of today.” It’s a common
theme in Dior’s show to anchor the present in its rich heritage. Here, guests saw
the cosmic sheen of vinyl thigh-high
boots mix with the psychedelic colors of
an acid green skirt coat with a retro
Peter Pan collar. Elsewhere, white sanitized flower women or photo-printed
plastic shifts mirrored the house’s famed
New Look silhouette.
The thickly embroidered paillette
body suits in stripes evoked how
observers in the Sixties imagined what
space-age fashions might be - as Russia
battled with the U.S. for dominance in
space during the Cold War. But there
was no nostalgia is this vibrant collection - it was replete with irony and fun.
One of the best details was the hair.
Schiap is back
Schiaparelli’s couture show went
back to the light artistry that the couturier, Elsa, was famed for - and improved
in focus, following the departure of the
more heavy-handed designer Marco
The two-piece menswear tuxedo that
opened the show - diaphanous yet
authoritative - set the period: the
Katherine Hepburn of the glamorous
Thirties. And the deceptively simple
burnt orange leather coat that exploded
on its back with a giant effervescent
bow, and 3-D heart appliques stabbed
with pins, set the tone. Carla Bruni, on
the front row, gasped in delight.
After two off-seasons, the subtle,
playfulness of “Schiap” - the formidable
rival of Coco Chanel who befriended
surrealist Salvador Dali, invented shocking pink and gave the world the lobster
dress - was truly back after her 60 year
The design team built on the creative skeleton Zanini had started to
trace, but gave it true style. A sharp
black bolero cut a dashing silhouette,
and a Golden Oldie emerald green satin
dress featured embroidered hands on
the back, as if the model were slowly
being undressed. — AP
Models present creations for Chanel during the 2015 Haute Couture Spring-Summer collection fashion show.