DIOR SPRING-SUMMER 2021 HAUTE COUTURE COLLECTION

Dior Spring Summer 2021 Haute Couture collection pays subtle homage to Monsieur Dior, who also believed in the signs of destiny. “Being superstitious, I rushed to touch the slightest piece of wood,” he confided in his autobiography. A mesmerizing passion, filled with a sense of magic and dreams.

Fascinated by Italo Calvino’s novel The Castle of Crossed Destinies, Maria Grazia Chiuri chose to design her collection using the wonderful Visconti-Sforza tarot cards for exceptional creations symbolizing the major arcana. A tale celebrating the magical beauty of the divinatory arts.

Tarot cards are among the keys to accessing the magical realm, to explore the unknown while fearlessly looking deep inside oneself. Maria Grazia Chiuri immediately felt a connection with these imaginary worlds and this visual language whose symbolic lexicon is rich in complex and fascinating characters. In uncertain times marked by a palpable desire to reconnect with the world’s soul, Maria Grazia Chiuri wished to explore, through the spring-summer 2021 haute couture collection, the mysterious and pluralistic beauty of the tarot in a series of dresses featuring virtuoso constructions; manifest proof that couture remains the ultimate territory of experimentation and possibility.

A series of extraordinary evening gowns features abstract constructions, some with veritable bas-relief openwork bodices punctuated with illustrations by Pietro Ruffo. In this spirit, the Roman artist created a singular deck of cards in which characters disclose the graphic energy of the symbols.

Dior gray appears in tweed, cashmere and organza on shirts, skirts, pants and capes. Meanwhile, the Bar jacket is revisited in black velvet, its curves reinterpreted to express a new attitude.

In his staging of these haute couture creations, Matteo Garrone, one of Italy’s most high-profile directors, builds on the narrative iconography by drawing on the visual force of the Visconti-Sforza tarot. Decorated by the illuminator Bonifacio Bembo for the Duke of Milan in the 15th century, this tarot deck illustrates the marvelous tale of this collection. Splendid cards embellished in gold, enamel, and vegetal and geometric interlacing have a solemn and enigmatic presence, revealing an inner journey, like an adventure of self-discovery. A voyage to the heart of a castle populated by characters embodying the major arcana who question and disorient, inviting the viewer to look at the world from a new perspective. In the director’s interpretation, this quest surpasses gender boundaries, presenting a synthesis of masculine and feminine in a new heraldic mythology evoking the enchanted worlds Matteo Garrone loves.

A clairvoyant asks to draw a card in a deck designed as a catalogue of possibilities, a cryptic dictionary of the world. The High Priestess, the Empress, Justice and the Fool, are notably sublimated through excellence of savoir-faire celebrating the art of weaving: lace is inlaid with hand-painted embellishments, golden velvet is enlivened with the signs of the zodiac and precious jacquards are sprinkled with stars, while a cape in multicolored feathers showcases 3D volumes.

In this story, the insider always needs the feminine complement and vice versa, because only such a fusion makes it possible to approach a formative path leading to self-awareness. As Italo Calvino points out in The Castle of Crossed Destinies: “The world has to be read upside-down”.

Source: DIOR.COM

Valentino Couture Spring 2018

 

Pierpaolo Picciolo presented Valentino’s Spring Summer 2018 Couture collection, a typical Haute Couture, imagined for present times, made of bows, of glamour and of refined materials such as taffetas and moire. With stunning headpieces by Philip Treacy.

“In a virtual era characterized by technological acceleration, it gives me pride and makes me feel full of hope keeping alive the Atelier in Rome which I consider a true artists studio”, says Pierpaolo Piccioli. “I know and I admire all the people who work there. I am very touched by their stories. Behind their hands, behind their technical skills I see human stories. The same stories which have the power to change clothes”. 

The collection featured unexpected bright colors from yellow, green to lilac, purple and red. The show started off with a maxi yellow cape with ruffles worn over a crepe de chine chemise and wool pants. Followed by a purple and lilac double face wool cape worn over a mint green top and purple pants.

Collection transfers knowledge and values through time. An ivory and apple green double cashmere sweatshirt with giant anemone patchwork print, lace applications, encrustations and embroidery gives the emotions of the human touch, of stories, of people. Creative Director Pierpaolo Picciolo revisited an iconic red gown by Valentino Garavani with his interpretation of present day Haute Couture. The gown ‘Floriana’ has 275 hand made petals layered in organza.

The final look of the show embodies the work of the Atelier as an art of time, a continuous dialogue between the one who imagines and the one who completes. ‘Giada’ an emerald faille and organza oversize cape worn over a black silk slip with floral applications. Please view the full Couture lineup below.

 

Zuhair Murad Couture Spring 2018

For the Zuhair Murad Couture Spring Summer 2018 collection, the Lebanese designer took his inspirations from the glorious civilization of Native America. The collection was filled with geometric motifs.

“I have a lot of respect for native cultures. Without them, we are not here. They left us an unlimited heritage of art and beauty,” said Zuhair Murad before his spring show. He kicked off with a fringed romper beaded in sparkling motifs that were cited as Sioux motifs. Dresses came with fringes, belts, cape sleeves, cascades of crystals and were strewn with suns and arrow heads, feathers and geometric cutouts.

The audience also witnessed princess gowns in red jacquard printed with shimmering silk thread in forms of arrowheads and symbolic drawings. See the full lineup below.

Elie Saab Couture Spring 2018

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The Lebanese designer Elie Saab presented his Spring Summer 2018 Couture collection, that was a major throwback to Paris in ’20s, with plenty of beading, feathers and oversized silk bows.

“I was inspired by the energy and atmosphere of this iconic time, when women lived large and dressed beautifully,” he told Vogue. “I wanted to revisit the era to pay tribute to Paris and its joie de vivre.”

The color palette ranged from pale gold to dusty pink and sky blue. The standout was the dazzling gown that had a geometric Art Deco motif of silver sequins, crystals, and microscopic beads laid over nude tulle.

See the full lineup below.

Alexandre Vauthier Couture Spring 2018

Chanel Couture Spring 2018

Chanel’s Spring Summer 2018 haute couture was presented at the Grand Palais, Paris, where Karl Lagerfeld installed a French garden. He chose the garden setting for Chanel’s spring couture show because he was feeling for that French je ne sais quoi.

There were tweed suits, feathered frocks, crystal embellishments, bouquet-topped veils. The flower power continued through the palette dominated by mostly gentle pinks with occasional outbursts of vibrant color.

« HAUTE COUTURE IS THE EXTREME LUXURY. IT IS PERFECTION WITH A UNIQUE PERSONALITY. IT HAS TO DO WITH PATIENCE AND WITH MODERN AND CURRENT TIMES.» KARL LAGERFELD

Giambattista Valli Couture Spring 2018

Giambattista Valli presented his Spring couture show in the Musée des Beaux-Arts in the Petit Palais. Working around a theme that might be dubbed goddesses fallen in a wild garden, the collection started off with a transparent sequence of black-and-white outfits. The cocktail minidresses were paired with black vinyl over-the-knee boots. The evening gowns similarly played with contrasts: pastoral asymmetric bustier dresses paired with ballet slippers versus floor-sweeping gowns in acres of silk chiffon.

“This is, I think, the modernity in haute couture: It’s getting really the best of the atelier and to modernize them — not to have the heaviness, but to keep the lightness, almost like you did it the night before,” Valli explained backstage after the show.

“I don’t work for museums, I don’t work for archives — I really work to dress real women,” he added.

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