Different people react to gloomy times in different ways. Karl Lagerfeld seems for example to have an ethereal vision of our critical times. Indeed, at Chanel’s thousands of white paper flowers were used to decorate the pillars, background and staircase from which the models descended.
There were at least two metaphors behind the paper used to create this extraordinary set: the beauty of starting something from scratch, from a white sheet in this case, and the fear of seeing this scary white sheet in front of you and of not being able to write or sketch down anything because temporary struck by a sudden lack of imagination and inspiration.
The paper theme was used also in elaborate and gravity-defying floral headdresses, some of them complete of immaculate crown of thorns, worn by the models. The pieces - created by Japanese hair stylist Katsuya Kamo - perfectly matched the cut, decorations and beauty of the designs on the catwalk.
The overall effect from a distance was magnificent, but the true beauty of the collection was in the details: pleated organza cuffs gave a special softness and elegance to rigidly cut jackets; cascades of tiny beads, sequins and appliquéd flowers decorated cropped jackets, tops and skirts; delicate flowers bloomed on necklines and embroidered black stars dotted pure white dresses.
Contrasts were created by using different fabrics in the same outfit, such as cellophane and organza flowers, fragile lace and rigid tulle. Glamorous little black dresses weren’t missing, but the climax arrived at the very end, with a bride in a trouser outfit complete with long train trailing behind her and a massive paper rose framing her head.
While everything was black and white at Chanel, colours exploded at Christian Lacroix, where as usual there was an excess of colours, prints and patterns. You could easily write 1,000 words on each Lacroix creation: indeed, each design is usually the synthesis of various inspirations and is made using different fabrics.
Lacroix’s haute couture collection was a visually overloaded treat thanks to pink puff skirts, long fluid gowns in warm shades and dresses that seemed to evoke images of Madonnas covered in votive offers.
The French designer seemed to have added to his usual excesses a new passion à la Iris Apfel, tons of jewellery. Lacroix was never too moderate in his use of accessories, but this time they were even more excessive, a few examples were the huge bangles in different colours stacked one after the other and the oversized diamanté earrings.
Riccardo Tisci was obviously more moderate, yet quite interesting. The colour palette of Tisci’s collection for Givenchy was never too harsh, featuring designs in white, soft pink, yellow and delicate violet.
But the main point of this collection stood in the superficially effortless way in which the designer wrapped up the fabric around the body of his models, piled up folds of organza on the shoulders for a softer and high fashioned power look and created vestal-like long evening gowns in ethereal fabrics, shrouding the models in veils that looked like Martha Graham’s costume in her 1930 ballet ‘Lamentation’.
A final mention goes to Martin Margiela. Famous for deconstructing garments and recreating astonishing new pieces by recycling different materials, the Belgian maison produced unique outfits for its "Artisanal Spring" collection.
Old denims were given a new life after being shredded and used as the fringe-like elements to create a one-legged outfit; hair combs were linked like Paco Rabanne’s metal disks to make a mini-dress; shoelaces formed the long fringes of an evening dress and plastic price-tag fasteners were cleverly used to create a fur-like effect on a coat.
The most striking piece was the classic Martin Margiela white jacket, completely reinvented and entirely made with paper towels.
Haute Couture can be extremely expensive, but it can undoubtedly provide us with countless ideas and inspirations.
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