the new prèt-à-porter line –

Ready go. Schiaparelli officially enters the prèt-à-porter for the first time in history. Many years of reflections and then voilà the die is cast. And what a nut. Daniel Roseberry, the creative who has reactivated the name of Schiap bringing him back to being one of the most fascinating among the famous women who count, faces this adventure as if it were the most natural thing. The show is intense, precise, entitled to meaning. The signs of madame, those that bind her to art and creativity, are there and become extraordinary elements of a daily life and no longer just an occasion. They settle on suits, capes, coats, quilts, jeans and on shoes or on the new bag dedicated to Madame Schiap.

«In the last 3 years we have built ready-to-wear – now reveals Roseberry -, and thought about the techniques that would have made it different from couture. I wanted to do something that would make an impression. From fantasy to reality. My clients kept asking me for a duvet, here it is». «Clear (Ferragni ed) Beyoncé and Rihanna they are fine – he comments -. But I felt we had to put the spotlight on the ready to wear to make people understand who this woman is, what choices she makes as she puts together her wardrobe. We started with pieces statement, classics but that Elsa would have loved to wear».
From each piece the many souls of what is to all intents and purposes a project shine through: French couture, Italian craftsmanship, American glamour. “Only” 35 looks, but they hit the mark: “I don’t understand how you can have 90-look shows. I wanted a clear message.” In an intimate place with only a hundred guests: «Too many open up just to gain space on the net». The colors are neither bold nor loud: rusty black, tobacco, beige. “They seemed more eternal to me.”

No huge crowds, no deafening music. Olivier Rousteing once again displaces and excites in its own way with a Balmain “different” from how he was used to it. And on the final of My Way sung with emphasis live and in front of the designer’s tears there are those who wonder if it wasn’t a “yearning goodbye”. Olivier’s answer is ready on his account: «No greetings, just the voice of my heart». Return to a certain classicism. That’s what. Which is kind of what you’re seeing on these catwalks that tell the fashion to come next winter. That’s enough cargo pants and amphibians and corolla skirts and stiletto heels. Rousteing finds Monsieur Balmain’s voice and follows his directions, naturally in his own way. With cascades of crystals and bustiers. But the mood remains a fifties elegance. A little awkward, perhaps. Definitely effective

From Chloé skin and more skin. Whether it’s the slip dress or the bomber jacket or leggings. Boots more than important that reach beyond mid-thigh and are often the look with small mini or dresses. So too since Givenchy: L’esprit of the founder according to Matthew Williams’ punk&rock je ne sais quoi who volumizes and squares everything to season it «combat» up to the grand finale: mermaid dresses with open backs, pearls and trains.

Off-White it’s a trip to the moon but also a bit into couture. the creative director, Ibrahim Kamara manages to bring everyone up there for the scenography (the catwalk of earth and asteroids) but with a little less clothes. A pair of astronaut suits and/or pilot harnesses don’t make room, but certain sneakers and puffers and leather and zips and flys are a nice connection to the Earth. Just as the references to Africa (in the colors and in certain embroideries) lead back to the origins of Ibra. What about Virgil’s legacy? The dream, the flight, the sky.

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