Haute couture week has begun and it's just what we need in a dismal January. So far, Giorgio Armani has ignored what his loyal ladies like from their Privé and indulged wholeheartedly in hi-tech fabrics that resembled liquid metal. The collection may require Armani's clients to stretch their minds more than they're willing but the story goes that he doesn't really care! These extraordinary fabrics in clean and shapely silhouettes are begging to be touched, the curiosity as to whether the disturbance would cause a ripple effect being too much to resist:
John Galliano tapped the glory days of haute couture for Dior with gestural references to René Gruau, the illustrator whose work for Christian Dior in the forties and fifties created the house's most iconic imagery, according to Tim Blanks. Zigs and squiggles and painterly details that could have been lifted directly from a Gruau illustration adorned many of the outfits, instantly distinguishing the collection from Galliano's previous incarnations of the hyper-glam 1940s skirt and jacket and opulent ball gowns.
Galliano balanced the waist-centric staples with voluminous, blousey shapes that aren't likely to appeal to the socialites, but showcased those divine silks and sublime textural embellishment which is the most delicioius thing about haute couture in my opinion.
FYI - speaking of Dior and the house's history with fashion illustration, I've interviewed Bil Donovan, Dior Beauty's first in-house fashion illustrator and renowned artist, which I'll be running in February. It was a privilege and a thrill to speak with Bil and I can't wait to bring it to you!
Pat McGrath's beauty look for this show is the ultimate in gorgeous glamour makeup:
But the Pièce de résistance has to be John Galliano's new hair: