The temples of haute couture in Paris discovered a new vocation as a museum. Want to infinity, dream recall and the need to look to art as a refuge and fortress secret to wealth in their new creations that are aimed at the future anyway. Giorgio Armani Privé. Accused of King George autocitazionismo borrow lunar materials (the last Haute Couture had played the silhouette) but not with the purpose of celebration, more like a stimulus-l'ennesimo-for a woman unable to stop.
Why evouzione proposed by Armani, which also calls into question the collection with her Philip Treacy hats, turns on tissue fluids, as inhabited by those magnets. The main protagonist his blue, still able to undergo changes and be perfect for boleros in coconut, micro lamé blazers, dresses interspersed with red ruby chip.
Jean Paul Gaultier. The Parisian designer wanted Farida Khelfa (actress, model and muse of Yves Saint Laurent in Algeria and the first assistant of the same Gaultier) as the star of what has been called Punk Couture. She interprets the mood completely, even when the veil between smoking with contrasting lapels comes with a complete print Pollock studded necklace.
A dark turn that has surprised but it seemed the right rhythm to bring more stringent as the geometry of the marine stripes long dress in voile. The penultimate exit with a print maxi skirt that reveals internal themed tribute to the Moulin Rouge and Parisian night. Valentino. The discreet charm of elegance: the duo-Piccioli Chiuri continues its journey through milky white gauze and naked but in spite of the simplicity of nuance (except for the two outputs in Valentino red) lines reveal a more complex culture.
Not yet rated exclusively to the long dress with pleated dresses but also intangible and flowers (the touch that the two designers do not give up on season) and disclose more body. But no malice seems to touch the models, performers of femininity so discreet that moves. Christian Dior. Free, reinterpretation, and the changing aesthetics of René Gruau, illustrator from the forties portrayed women with lines and colors that conquered Christian Dior.
That is why madame who marched during the French haute couture designer to the letter that enriching lost sensuality of light and shadows (the tulle cocktail dress and feather dusters on degradè where massive melting beige and turquoise marabou bolero maxi gradient) . But the focus remains the same even when the veils come into play: the rouge à Levres.
Alexis Mabille. The color of the couturier constant dualism seems to have left the eclectic space of floral prints and brocade for accessories. But the "new" color is controlled by blazer noir with deep necklines, long chemises in veil held by men's belts. The developing course of Mabille continues (also) through the tunics in shades balanced with intense immediate outputs in virginal lace.
Bouchra Jarrar. For a couturier who abandons the double asymmetric another found the power of black and white even to the most rigorous elegance. It's the French who brought the first female creativity by Balenciaga and then by Lacroix, who for his show in Paris wanted to show the power of black and white lines on dry but with references dada - see lacing "irregular" and outlines a large Whether white on slender black tuxedo pantsuit.
And when the scene is only the dark blue color is contrasting the bare skin that appears in the asymmetric cuts. New dualism, in fact. Chanel. The steps of the famous studio in the rue Cambon in full of iconic Mademoiselle bouclè (just so white and pink) for a couture daily which can be interpreted in detail.
From the ease with which the dancers move mannequin with a low shot just black tip, and then interpretation of the suit jacket embroidered with multiple layers of precious wires (here revealed the trompe l'oeil jewel), tapered pants, studded with sequins or effect second skin, clothes and dusters complete without distinction.
Transparencies from the manual: the complete black tulle with macro pixels applied. Givenchy. Look and not touch. Like a hologram, the desire and imagination are essential here because women take on a whetstone Riccardo Tisci fantastic. Enriched with an armature cyber-manga (in the cast were all top Asian time) can not move to avoid altering the balance made up of pleats, decorative geometric lines tending towards the base of the figure as magnetic rays.
The love of the Japanese designer for the late performer Kazuo Ohno, who seems to have inspired, and there is the gallery of iconic clothing-enriched. 
Why evouzione proposed by Armani, which also calls into question the collection with her Philip Treacy hats, turns on tissue fluids, as inhabited by those magnets. The main protagonist his blue, still able to undergo changes and be perfect for boleros in coconut, micro lamé blazers, dresses interspersed with red ruby chip.
Jean Paul Gaultier. The Parisian designer wanted Farida Khelfa (actress, model and muse of Yves Saint Laurent in Algeria and the first assistant of the same Gaultier) as the star of what has been called Punk Couture. She interprets the mood completely, even when the veil between smoking with contrasting lapels comes with a complete print Pollock studded necklace.
A dark turn that has surprised but it seemed the right rhythm to bring more stringent as the geometry of the marine stripes long dress in voile. The penultimate exit with a print maxi skirt that reveals internal themed tribute to the Moulin Rouge and Parisian night. Valentino. The discreet charm of elegance: the duo-Piccioli Chiuri continues its journey through milky white gauze and naked but in spite of the simplicity of nuance (except for the two outputs in Valentino red) lines reveal a more complex culture.
Not yet rated exclusively to the long dress with pleated dresses but also intangible and flowers (the touch that the two designers do not give up on season) and disclose more body. But no malice seems to touch the models, performers of femininity so discreet that moves. Christian Dior. Free, reinterpretation, and the changing aesthetics of René Gruau, illustrator from the forties portrayed women with lines and colors that conquered Christian Dior.
That is why madame who marched during the French haute couture designer to the letter that enriching lost sensuality of light and shadows (the tulle cocktail dress and feather dusters on degradè where massive melting beige and turquoise marabou bolero maxi gradient) . But the focus remains the same even when the veils come into play: the rouge à Levres.
Alexis Mabille. The color of the couturier constant dualism seems to have left the eclectic space of floral prints and brocade for accessories. But the "new" color is controlled by blazer noir with deep necklines, long chemises in veil held by men's belts. The developing course of Mabille continues (also) through the tunics in shades balanced with intense immediate outputs in virginal lace.
Bouchra Jarrar. For a couturier who abandons the double asymmetric another found the power of black and white even to the most rigorous elegance. It's the French who brought the first female creativity by Balenciaga and then by Lacroix, who for his show in Paris wanted to show the power of black and white lines on dry but with references dada - see lacing "irregular" and outlines a large Whether white on slender black tuxedo pantsuit.
And when the scene is only the dark blue color is contrasting the bare skin that appears in the asymmetric cuts. New dualism, in fact. Chanel. The steps of the famous studio in the rue Cambon in full of iconic Mademoiselle bouclè (just so white and pink) for a couture daily which can be interpreted in detail.
From the ease with which the dancers move mannequin with a low shot just black tip, and then interpretation of the suit jacket embroidered with multiple layers of precious wires (here revealed the trompe l'oeil jewel), tapered pants, studded with sequins or effect second skin, clothes and dusters complete without distinction.
Transparencies from the manual: the complete black tulle with macro pixels applied. Givenchy. Look and not touch. Like a hologram, the desire and imagination are essential here because women take on a whetstone Riccardo Tisci fantastic. Enriched with an armature cyber-manga (in the cast were all top Asian time) can not move to avoid altering the balance made up of pleats, decorative geometric lines tending towards the base of the figure as magnetic rays.
The love of the Japanese designer for the late performer Kazuo Ohno, who seems to have inspired, and there is the gallery of iconic clothing-enriched.
- You: Paris haute couture gallery (25/01/2011)
- On the Runway: Paris Couture: Valentino (27/01/2011)
- "Dior Red...............Haute Couture SS 2010" and related posts (26/01/2011)
- The Fashion Statement: Haute Couture's Lightness of Being (27/01/2011)
- Paris Haute Couture Week: Wedding Dress Inspiration (26/01/2011)
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