It`s the last day of the year (& the last day of the season) and instead of looking back, I`m showing you the season`s outtakes, the highlights of the material that didn`t make it into the coverage. Enjoy!
Vivienne Westwood Red Label F/W 11
Kenzo Homme F/W 11
Dsquared² F/W 11
Salvatore Ferragamo Cruise Collection
Vivienne Westwood Man F/W 11
Jean Paul Gaultier Precollection
Pictures are property of the respective brands.
Which pictures are so good that they should have been in the regular coverage?
This truely is one of the greatest Haute Couture collections in history! Everything about it is perfect; it is impressive from the opulent shapes to the the terrific details. Each look is a firework and the theatrical show with the models strouting the like pharaos and posing like divas brings them to life.
Galliano`s play with proportions and volume is ingenious - earrings as large as shoes, skirts three times as wide as the waist and sleeves that touch the floor - THIS is Haute Couture; the artistic vision, the exaggeration, the perfect details and the perfect tailoring, all leading to a piece of pure beauty, born in the realm of fantasy, realized without the restrains of "practicability" or "wearability".
I hope the CEO`s of Dior are sitting in their archives crying that they let Galliano go. He IS the greatest couturier alive and there is NO replacing him! He must return to Dior. There is no other way.
What impresses you the most about this divine collection?
Staying true to his custom of exotic inspirations for Chanel`s prefall collections, Karl takes us to India in 2012 and references Sari`s and colonial-style.
I`m thrilled about the jewellery, opulence and also appeciate the colonial looks. They work in non-colours because they are defined by their cuts. I just wonder about the political-correctness of this reference since colonialism is a rather dark chapter of history and this is collection is no critical reflection but a romanticisation of it.
I feel that the merging of cultures is reaching it`s aesthetic limits in this collection. The classical Chanel black and white hardly works without it`s minimalistic square-cut and a Sari doesn`t work without it`s bright colours and prints. A white Sari simply isn`t a Sari.
Another thing I strongly dislike is the dreadlock-reference to the 1970s hippie-interest in India. This is neither Chanel nor India. What would Coco Chanel say to a woman desecrating her hair like that!?! Dreadlocks are not only the refusal of elegance - they represent a neglection of western culture. So how can Karl put them together with colonial-style, which represents a part of western-history that hippies oppose!?!
The mixing of cultures does, of course, raise contradictions but this collection is simply not consistent in itself. By putting together the wrong facets it is as if he had 'neutralized' what was initially great about them (-> see the white Sari).
Conclusion: beautiful but does not withstand further analysis.
Roberto Cavalli has designed the outfits for the Italian singer Laura Pausini’s World Tour, which will begin on 22 December 2011 in Milan.
The edgy suit made up of trousers and gilet on which the embroidered panels were expertly hand-treated by skilled artisans with python, crocodile and also partly in nappa leather, joined with long suede fringe.
All of the garments have a strong stage presence.
They are a part of the performance: every change of outfit corresponds to a change in the scenography.
Another impressive number is the look composed of a black jacket with a satin collar, paired with a black lurex jumpsuit with pavè and black Swarovsky crystal embroidery.
Pictures are property of Roberto Cavalli
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