We close Fall 2012 Couture with the only mixed gender show. It was fitting that this was a mixed show, as the inspiration for it was Alfred de Musset, whose inspiration was George Sand. One had to look close sometimes to discern the men from the women and the women from the men. I’m sure 19th century Paris would have been scandalized. 21st century Paris was enthralled.
Female? I think. Only her brazillian waxer knows for sure.
Maison Martin Margiela might not be the biggest name on the couture bill, but the show still brought in the big names in the audience.
Someone’s bidding to be Gaga’s next obsession with these diamond masks.
Valentino is a house that everyone associates with the color red.
That’s why the designers decided they were going to blow everyone’s minds and go blue.
The words “deconstructed victorian” came to mind upon seeing this opening number. There wasn’t quite the follow through necessary to call it the over all theme to the show, so instead I’ll call it an undercurrent.
Elie Saab….oh so pretty. Let’s face it. His couture lines are for the little girl in all of us who loves chiffon and sequins and lace and glitter glam done right. Pretty pretty princess wear ahead!
True to form, Saab’s dresses are nearly all monochromatic, and came out according to color. He started us off with the black number cut down to there and then a little lower.
Giorgio Armani’s couture collection aimed squarely to find the future in the art deco period. He did a full day-to-night line, making it one of the most extensive haute couture shows of the week. The results were lush and lovely.
Let’s start with a play on the French stylings made popular by the post WWI ex pat crowd. Berets topped the opening looks, which all harkened back to the late 20s and early 30s.
Ulyana Sergeenko is a Russian It Girl turned designer. Her line is full of the outfits she was known for–full of Ruskie style.
How to Wear a Cape 101. Class is now in session.
“Vintage is depressing,” Lagerfeld sneered after the Chanel show. “But ‘new vintage’ is something to come. It’s preparation for something that could last.” Perhaps that’s why many of their pieces managed to simultaneously feel like timeless classics, throwbacks to the times of Jackie O and forward thinking all at once?
There is nothing more timeless than the classic Chanel suit. I assume they’ll be wearing them well into the 22nd century, whith would explain the silver tights and hand covering to keep the radiation from affecting the skin.
Givenchy only showed ten outfits, but what outfits they were. They were so intricate the photos of the backs of the outfits were sometimes more breath-taking that the fronts.
Also–PUPPEH! The inspiration for the line was both the simple lines of the mid-sixties and the gypsy population and their native aesthetic.
Bouchra Jarrar doesn’t do ball gowns. She doesn’t do beadwork or ruffles for days. But interwoven into the very tailored pieces are little hints of the feminine, ready to bloom.
See that little ruffle on the hip, over those perfectly made pants? There’s your flair. Take it or leave it.
Giambattista Valli’s couture line was all nymphs and faeries and women who deal with the devil. At least, that’s according to him. I saw a line that was half red/half green and Christmas party all over.
True to the couture style, there are ruffles to her ears and a skirt that looks like a box. The leaf and petal fabric does suggest some sort of evil wood nymph though.