13 fevereiro, 2011

Paris | Haute Couture SS2011 »Part II«

This is the second and the last part of the Couture Week in Paris for Spring Summer 2011!

*Elie Saab, and his 'Oscar' dresses! All women love this guy, and i love him too, because of the fantastic and amazing job that he do in each collection of each season! Just loove!

*Armani Privé, became in a very futuristic way, in a dark mood but with shiny clothes for shiny people!

*Givenchy, by Ricardo Tisci comes with an absolutely brilliant collection, that is one of the best collections for this season (in Couture!). The way that the collection is structured, and the color is worked, make realistic the way that 'Tisci' is think in the fashion industry. His a genius and this collections is part of it!

Elie Saab
There was plenty of décolleté, and sinuous limbs slipping out from skirts that were, at times, almost too split, but what today's show really evoked was the up-to-the-neck missy-ness of Norma Shearer, an Oscar winner from centuries ago. One long tulle and organza gown, piled with flowers at the shoulder and tied with grosgrain at the waist, would surely have driven La Shearer into a paroxysm of desire. Coupled with the exceptionally sweet hair and makeup, this peculiar sense of propriety took Saab's collection into territory that was new for him. It was certainly a world away from the sparks struck by his last Couture show. Just look at the bride—last time, she shimmered with hints of gold. Here, her gown drooped with organza flowers and tatters of mousseline, and her veil was almost shroudlike.

Armani Privé
When Giorgio Armani presented his made-to-order Armani Privé collection near Place Vendôme Monday evening to the likes of Sophia Loren, Jodie Foster, and Olivia Wilde, he was thinking of, Lady Gaga. Clearly, Armani is gaga for Gaga. How else does one explain that shiny molded techno-fabric that looked like it was specially created for Tron (it is, in fact, a silk-nylon blend)? Or the crystal-strung dresses that looked like three-dimensionally rendered animation (and had a touch of the gown he designed for the one-woman multimedia sensation of last year’s Grammy Awards)? Or, indeed, the sleek dome of an ovoid hat, or a glistening cage mask that would be great for the likes of Gaga on the red carpet because, really, who else would be wearing it, while perhaps not so effective for the A-list types Armani has dressed for years.

As you’ll gather at first glance by looking at these photographs, Givenchy did not have a couture show for spring—at least not in the conventional sense. The pictures here show front and back views of each of the long, Japanese-inflected designs Riccardo Tisci made this season—ten dresses which were expressly designed never to be exposed to the roar of the runway. Instead, he hung these clothes suspended in light, in a kind of exhibition, so that both reviewers and clients could take time to view them at inches-range, and reach out and touch, if we wished.
This way of presenting gave Tisci both the opportunity to describe the derivation of his ideas—an abstract homage to the Butoh dancer Kazuo Ohno, who recently died at the age of 103, (with added reference to Japanese robot-toys: the horned hats)—to prove just what goes into the work of couture, and to answer the questions it raised, such as: Why no daywear?

(Photos by Style.com)

(the text's are from Vogue.com, and Style.com [Elie Saab])

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