In yesterday's post we looked at a religious relic that may prompt a designer to avoid the more trite and literal references to religion and look for higher inspirations.
Pierpaolo Piccioli tried to do the same in Valentino's Haute Couture A/W 2017 collection by looking at religious paintings.
The models on Valentino's runway had indeed the minimalist monastic solemnity of the monks in José Ortiz Echagüe's black and white images, photographs that, combined with the paintings of Francisco de Zurbarán, inspired Balenciaga. The "Spanish Caravaggio" was actually the starting point for the Valentino collection.
Avoiding the undesirable and Fellini-esque theatricality of Paolo Sorrentino's Young Pope, Piccioli opted indeed for a trip through the sacred rituals and the mysticism of Zurbarán's paintings.
In a way this was understandable: fashion runways are rituals, ateliers could be conceived as the sancta sanctorum of a fashion house, and real artisanal craft is an initiation, while fashion fans often show an exaggerated obsession for their favourite designers, almost a devotion.
Piccioli therefore brought on the runway his interpretation of this fashionable religion, conceived also as a way to ponder about something higher, that is the spirit, and rejecting rationalism while taking a break from the digital world that has trapped many of us.
Piccioli designed hooded capes, robes and long gowns that called to mind the vestments and garments of cardinals, bishops, martyrs and saints in Zurbarán's paintings.
In some cases he borrowed dramatic volumes, shapes and silhouttes; in others the palette was clearly lifted from Zurbarán's paintings and even had religious names such as "incense" or "blue piety".
But there were also intriguing tricks such as layering a selection of garments (such as turtleneck, tunic, skirt, trousers, coat and cape) in one look, or creating hybrids like the T-shirt-cape, a cape-gown and a cape-tabard, something that also happens in Zurbarán's paintings and that can again be interpreted as a reference to composite religious vestments.
Layering was mainly applied to daywear, something that is not generally considered as the main strength of Haute Couture.
Then again the very few wealthy couture clients around the world will need all sorts of clothes and couture separates may represent an alternative to evening gowns.
This point also prompted Piccioli to reconsider embellishments: there were indeed no extreme excesses of beading and sequins in the collection, almost to remind us that real quality does not stand in heavy decorative motifs, but in the materials employed and in the techniques applied to them, in a nutshell artisanal grandeur is more important than excessive glamour.
Valentino's atelier employed for example delicate tiny feathers to colour in sections of dresses, creating ethereal chiaroscuro embroideries, while cascades of brocades were applied to cashmere.
Accessories included metal bags with enamel mosaic details (a collaboration with Harumi Klossowska de Rola) in the shapes of animal heads, symbolizing the seven deadly sins, but also the characteristics of that particular animal.
Zurbaràn's fans will be able to trace back certain effects and looks to specific paintings: though made with luxury materials and therefore miles away from the modest attire of monks, the camel and beige capes seemed directly linked to some of the most famous works including "Saint Francis in meditation" and "Saint Francis Contemplating a Skull" (there is actually a link between this skull and the animal head-shaped accessories…).
The mismatched colours and intricate intarsia brocade elements were borrowed from the portraits of Saint Marina, Saint Apollonia and Saint Casilda, while the ample and deep folds of Saint Serapion's tunic and of the attire of the main figures in the Virgin of the Mercy painting added a dynamic element to the voluminous capes.
Among Zurbarán's most famous works there are his devotional Veils of Saint Veronica, portrayed with so much realism that critics often defined them as a trompe l'oeil "a lo divino" (in a sacred manner).
There were no direct references to Catholic religion in this collection, but maybe this sort of fashion could be considered as couture "a lo divino" for some of the symbols, metaphors and hidden meanings behind it and for its meditative moods.
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