PARIS (AP) — Art returns to the glittering world of Chanel couture on Tuesday. Giant animal sculptures gather in the center of a circular runway, resembling the surreal menagerie of Paris Fashion Week.
Designer Virginie Viard collaborated with contemporary artist Xavier Veillant, who used the animal paintings of Maison founder Coco Chanel’s apartment as a creative starting point for carnival-like spring decorations.
Animals made of unpainted wood, paper, and cardboard seemed simplistic, lifeless, and monochromatic, while Chanel’s collection sparkled with color and sequins in a very vivid display, contrasting strongly.
Here are some highlights:
“We want to evoke a constantly evolving relationship with animals in our society,” Veilhan said.
A front row of VIPs including Marion Cotillard, Tilda Swinton, G-Dragon and Vanessa Paradis watched giant camels, bulls, fish, horses and giant mobile-like lions board this strange runway. I was watching. A large geometric disc.
A single bird, tucked into the set with its large beak and countless scruffy wooden feathers, appears to have produced a model in a split white riding jacket with top hat and fringed skirt. They called it a Trojan chick.
The rest of the collection didn’t seem directly related to the animal theme, but this level of delicacy wasn’t a bad thing. Animal twists were added, including embroidered Scotch Terriers. Elsewhere, there was a strong riding style, building on ideas from previous Viard seasons. It was important.
The long white gloves, black-and-white bow tie, and skin-tight gold or black hat boots with white boxer-like lace-ups had a lot of quirks, but felt out of place at times.
Sprinkled with brocades, sequins, sequins and shimmering silk, the strength of this superlative, poetic couture speaks for itself.
A loose, amorphous gown embroidered with thousands of sequins and silky breasts of black, white, and gold that glistened like silvery fish. Elsewhere, thick, textured bell skirts were constructed using rippling layers of white silk like underwater seashells and delicate stratus clouds.
At the Garde Républicaine’s majestic stone entrance, Giorgio Armani’s late departure forced the guests (some of them lightly dressed) to wait in the freezing cold of the night. Given the green light, Michelle Yeoh was one of the first to walk the romantic lantern path.
Juliette Binoche next dodged a question about playing Coco Chanel in the Apple TV series The New Look, stating, “This is not for tonight. Now it’s time to support Giorgio. He I am a big supporter of artists.”
As the media circus fell silent, guests sat by a Harlequin stage lined with interlocking colored lozenges before the playful collection.
The silk bolero jacket was the beginning of a design reminiscent of the 1980s. First as his 3D relief on the jacket, and most strikingly the heavily stretched Courtley ruff.
Exquisite embroidery in every shade of sun dripped onto the sometimes-sexy A-lines and body-stroking column silhouettes.
But there are just too many styles and shapes in this exhaustive collection, including large bejeweled floral appliqués, dazzling sequin-encrusted jackets, and round-collar tops in geometric shapes. The show as a whole was difficult to identify because it was combined.
In some cases, clothing would have benefited if it weren’t for Armani’s obsession with construction. For example, a paneled gown with a pleated skirt.
His couture fusion was full of drama.
French designer Alexis Mabille incorporates traditional Greek drapes and Indian sarees into brightly colored dresses from South Asia. It produced a soft spring collection with longer silhouettes and fluttering scarves, using silk that swept the floor dozens of meters.
Bejeweled flowers adorn the hairstyle and flow freely like hanging fabric.
A bottle green gown cuts a sublime hourglass silhouette. It reshaped the model’s body, open on the sides and widened at the top, secured by a Greek waistband. was worth it.
Not all were hits, though. The blue hooded gown had a slightly unnatural spiked satin collar, and the misplaced belt confused the eye.
Stéphane Rowland Aims for Glamor
Projected on the big screen for Stéphane Roland’s guests before the show, the film featured a tribute to the 1959 film Black Orpheus, shot in Brazil. The Academy Award-winning film is set in a favela during the famous Carnival season.
Roland, however, seemed more interested in carnivals than in the poverty of the slums. The couture itself was highly stylized, with an upscale appeal with a ballroom kick, and was still very sculptural.
Purified white and black gowns gave off huge hissing sounds of fabric, like trains scraping the floor, or giant neckbands that revealed their bare backs when the models turned. Another look, one of the collection’s best, was a sculpted back mini gown with a bias-cut skirt. It shot huge waves from its hips.
Rolland played to the dramatic effect of exposed meat against the purity of the clean length of fabric.
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