This is »Part I«, and in this post i'll show you:
*Christian Dior by John Galliano, doing what he nows at his best! Amazing dresses inspired at the 'New Look', with soft colors in dégrade, that puts our eyes crying like there's no tomorrow!
*Valentino, now in the hands of Maria Grazia Chiuri and Pier Paolo Piccioli. They show us magnific dresses in great soft colors, some of them in a quite transparency but all of them soo lovely.
*Jean Paul Gaultier, gave us a incredible show, as always. But this time he mixed the punk look with 'can-can' dolls!! Are you curious? Just read this post 'till the end...
Christian Dior
Shape-wise, there was no deviation from the nipped-waist bar jacket, the pencil-line skirts, the swirling fan-pleat circle skirts, and the grand ball gowns with which Christian Dior dictated postwar fashion. Camp and extravagant as it was, though, in close-up, this wasn’t quite vintage reconstruction to the letter. Galliano’s obsession with the way Gruau caught the fall of light on color was mimicked in fine graduations of tulle minutely collaged in increasing densities to shade in folds of peplum and bubble jackets, the highlights picked out in streaks of sequin, the collar lapels visually blurred with raw-edged trims.
Valentino
Maria Grazia Chiuri and Pier Paolo Piccioli chose the house specialty, pleating, as a central motif—a good choice, since it's around this spring, and no one can achieve it (with minutely narrow ribbons of lace, or hundreds of fan-like ripples of chiffon, hand-pressed with an iron) like the Valentino seamstresses in Rome. Technique alone, however, can't lift a collection unless it has some connection or contribution to the way fashion is thinking. This one gently hit the mark with its contradictions between long lengths, high collars, and wrist-length sleeves, and the fact that so much was semitransparent (though never blatant). In this curious transitional moment when body-con feels incredibly old, yet girls are reluctant to sacrifice a show of leg, these Valentino dresses—and the quiet eroticism beneath their innocent prettiness—seem poised in exactly the right place.
Jean Paul Gaultier
British punk meets Paris cancan: Oh, it takes genius to make such an appalling-sounding fashion trope even the slightest bit forgiveable. On this occasion, though—barely credible as it may seem—Jean Paul Gaultier took mohawks, studs, and leather jackets, married them with the girls of the Moulin Rouge, and came out with a defining triumph, soaring from grimy guttersnipe-style to a French level of sophistication which makes the rest of the world spit.Narrative fashion shows can be annoying these days, especially when one’s considering a designer like Gaultier, with a past that wends back to the eighties. But this time, his revisitings of sailor stripes—brilliant horizontal organza ruffles on Lindsey Wixson—and corsetry, now merged into both a tailcoat jacket and a cancan costume, somehow seemed simpler, more relevant, and full of energy.
Photos from Style.com
(the text's are from Vogue.com)
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