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Sex, sugar, pins and needles – Versace, Schiaparelli, Giambattista Valli, and a little from Dior and Chanel at the spring couture, Fashion

Sex, sugar, pins and needles – Versace, Schiaparelli, Giambattista Valli, and a little from Dior and Chanel at the spring couture

As I was walking out of Sunday night’s Atelier Versace show – the official start to the spring/summer 2015 haute couture collections – I overheard an exchange between a couture client and one of the house os Versace’s aides. Well, I overheard one part of the exchange. I presume said aide asked said client what she thought of the collection. “That see-through beaded shit,” she barked. “Sexy as fuck!”

That’s not something you hear much at the haute couture.

By | Fashion, Fashion Sense | Tuesday, 27 January 2015 at 11:57 am

Chinese Whispers at Versace, Frankenstein’s Monster at Schiaparelli. Haute couture autumn/winter 2014, Fashion

Chinese Whispers at Versace, Frankenstein’s Monster at Schiaparelli. Haute couture autumn/winter 2014

I’m sure I’ve talked about the importance of individuality in haute couture before. It’s the raison d’être for the thing – couture clothes are complete one-offs, made to the specific measurements and requirements of incredibly wealthy and demanding women. Those demanding women come in all shapes and sizes, with different tastes.

They always have. While haute couture once set the trends – there’s an exhibition about to be launched at Paris’ Musée Galliera titled “Les Années 50, La Mode en France 1947-1957″, which lauds that golden age – it still had room for disparate voices. Balenciaga showed his unfitted suits when Dior-influenced cinched waists were at their tightest. Chanel, Schiaparelli and Vionnet had violently opposed views of dressing women, but they co-existed, and thrived.

By | Fashion, Fashion Sense | Monday, 7 July 2014 at 12:46 pm

Couture’s future looks bright: Versace, Dior, Schiaparelli, in Paris, Fashion

Couture’s future looks bright: Versace, Dior, Schiaparelli, in Paris

In less than 24 hours, we’ve had four very, very different interpretations of twenty-first century haute couture. How to reconcile the whimsy of Marco Zanini’s Schiaparelli debut with the hyper-modern aerated layers of Raf Simons’ go-faster Dior? How could you compare the cinched-in, souped-up sexuality of Donatella Versace’s Atelier ode to Grace Jones with Giambattista Valli’s embroidered, gazar-wrapped chocolate-box frocks? Couture is about contrasts. There’s aren’t that many customers out there left, so canny couture houses are appealing to niches with deep, deep pockets.

By | Fashion, Fashion Sense | Monday, 20 January 2014 at 8:38 pm

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