At the bi-annual couture shows in Paris, the collections and sometimes the models wearing them gets everyone gossiping, but this year it was 13-year old fashion blogger Tavi Gevinson, who was ruffling feathers with her ill-advised piece of Stephen Jones headwear ‘obscuring’ the view on the front row of Dior.
As Tavi smartly pointed out, she is about half the size of the average fashion ed/celeb and the offending bow was shot with holes. Would any editor dare to strip Diane Pernet of her signature raised veil? Non, pas du tout! So really, the crux of the matter is that the teen fashion prodigy has fast-tracked her way to the privileges that editors have spent years trying to cultivating and maintain and surprisingly enough, they don’t like it!
Couture is an industry clawing on by its teeth, so it’s no surprise that designers are consciously trying to appeal to a younger market – hence Tavi at Dior, Lady Gaga sporting Armani Privé and Valentino’s woodland neon nymphs.
The direction of the house of Valentino has been somewhat vague since the departure of Valentino Garavani. His second set of predecessors and former Valentino accessories designers Maria Grazia Chiuri and Pier Paolo Piccioli began their assault on a new look brand with their romantic, sculptural A/W 09 collection, but this season they’ve gone wild and thrown the rulebook to the wind.
Valentino’s elegant woman has put her prim little suit in storage and turned into a to a cyber partygirl with a new best mate, Alice Dellal. Blush and nude shades are carried over from the Autumn/Winter ready-to-wear collection, but this time they’re set off with flashes of fluorescent pink and yellow and silver (with more than a nod to Pam Hogg’s panelled catsuits).
Underneath the neon and sparkle, there are whispers of classic Valentino, with beautiful draping, volume and embellishment, but the pair really stick the knife in with their interpretation of the iconic ‘Valentino red dress’. There are three red dresses in the collection, the most outrageous being a red leather mini dress with waves of leather ruffles.
The sheer visors and ‘exotic bird’ make-up seem to reference Avatar and the models certainly have an eco-warrior vibe. This unashamed attempt to appeal to a younger, ‘new money’ crowd hasn’t gone unnoticed, and their new rock ‘n’ roll image has sent shockwaves through Valentino’s clique.
Valentino’s partner Giancarlo Giammetti labelled the collection a ‘ridiculous circus’ and told WWD that both he and Valentino “are always supportive of the designers of Valentino, even if we don’t approve of their effort to be cool at all costs.”
A polar opposite collection was John Galliano’s historical, equestrian collection that looked back to the work of Belle Epoque designer Charles Lamb, who was also the inspiration for Christian Dior’s New Look collection in 1947.
Galliano cracked the whip, as models were sent down the catwalk in Edwardian riding jackets with nipped-in waists and peplums, checked skirts with bustles and top hats with veils. Next up was cocktail hour with the most beautiful jewel coloured, gathered chiffon skirts, embellished jackets, halter-neck bustier shirts and draped dresses in Duchesse satin.
For evening wear, it was all about the most incredible ball gowns and Galliano found inspiration with ‘The Gibson Girls’, the illustrated feminine ideals at the turn of the century. There were delicately structured satin bodices with voluminous, sculptural skirts in exquisite fabrics and a colour palette including dusky pink, raspberry, petrol, mauve and ice blue.
You can tell that Galliano lives for creating couture and the colours, craftsmanship and historical references make his shows the most anticipated of all. Suzy Menkes acknowledged the beauty and emotion of the collection, but suggested that “it would be a fine thing if Mr. Galliano could just once make the starting point of Dior couture not fashion’s sweet memories but a clean sheet of paper on which he writes 2010.”
It’s interesting that designers who have been at the helm of Valentino for just over two seasons should cut away from the house’s heritage so significantly, while Galliano, who has made Dior his own since his arrival in 1996, still references Christian Dior’s most prominent collections like an old friend.
With rejuvenated houses such as Balmain, Givenchy and Balenciaga excelling commercially but losing part of their original identity (plus the closure of Christian Lacroix), I would personally drape myself in raspberry tulle in support of Galliano’s nostalgia over a label who is in the painful midst of a personality crisis.
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