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(From left to right, Ronald van der Camp, Chanel, Iris van Herpen.)
Photo: The Cut; Photos courtesy of Ronald van der Camp, courtesy, courtesy of Iris van Herpen
As a rule, Chanel does not display bags or jewelry on the haute couture, and tries to keep the logos intact, although one Tuesday she appeared in the Virginia Verd Fall collection – an embroidered C in a black-and-tweed gold beige coat. But they did not realize it. Even Carl Lagerfeld was able to control himself, which can be difficult. In general, he made him ready to dress foolishly.
However, the lack of logos and accessories (except for a few pieces of diamonds) may have made him very sad at this time, perhaps because of the fatigue of Viar’s clothes. Some people have no doubt that the collection is boring; In March, at a fall-ready show, I found a completely opposite of the apostate spirit of Coco Channel – bourgeois. But there is a big difference between a tailored jacket and a special handmade one. It easily adapts to the body. For his circle, there is a natural simplicity. And in the big air-conditioned space on the Channel venue – a platform for riding in the Boise de Bulang – this is what I’m really worried about.
Chanel.
Photo courtesy of Channel Courtesy
Many of her models have been allowed to wear loose hair (unlike last July’s Brownfield sweater) and have either black Western-style boots or T-heeled heels. They seemed to walk away from the stage, adorned with ornaments. And even though there is embroidery in the collection, it seems more humiliated or, in any case, difficult to understand even at close range. For example, there was a very nice black T-shirt, and you could tell from the pictures that it had deep holes in the back, when the ostrich feathers were thin. In the pictures, it looks like an ordinary black coat. Other embroidery and details, such as evening gowns, appeared to represent the cinema, the 1930s charm, and the art deco.
Chanel.
Photo courtesy of Channel Courtesy
But Viard’s taste is a bit vague and perhaps ultimately independent. With a wide focus on history and culture, Varder’s choices seem more personal and unmistakable. She recently worked with Xavier Veilhan on a set of laboratory sets and with composer and musician Sebastian Teller. At the time, Lagerfeld was determined to be fashionable, wearing short skirts. Vian follows her own beat. During this time, she, like Maria Grazias Chiuri, showed off several straight half-calf dresses in Dior, including a wheat-toned t-shirt with a gray-pink lace-up skirt, and even a pair of gauze pants. Chiuri and Viard have something in common at this point. They give a sense of harmony not only to the individual styles of their collections but also to the vibrations of their projects. Nowhere is it more obvious than Viard’s evening gown. These styles are a lot of youth, but she’s not chasing her.
Other travelers face reality (and the past) in a different way. In the garden of the magnificent building on the left bank, Dutch designer Ronald van der Kemp showed 27 unique pieces from new collections made of new materials, discarded skins, immature lace, and bit and bob. This collection of colorful and beautiful gowns was not as volatile as in the past in the colors of the fruit-saving package. There were too many fashion-y signs – big sleeves, a twisted headband, a cut or cat denim – and not enough design elements. Once again, Van der Camp’s actors, as they lined up on the stage, passed out as guests of Tennessee.
Ronald van der Camp
Photo courtesy of Ronald van der Kemp
Iris van Herpen Ovid-inspired dresses were amazing. Her idea was to connect the headset to the other theme, to connect them to the opposite meta. But that is not the case with Covid. Van Herpen, who is Dutch, has worked for a long time among the facts, and her dress is not like anyone else’s. During this time, her clothes were redesigned and reworked, making them look like recycled mills, raw silk, organza, and banana leaf.
Iris Vanherpen.
Photo courtesy courtesy of Iris van Herpen
Many homes are taking part in the couture fashion week apart from the scenes and featuring haute jewelry. The two are worth mentioning, Chanel and Hermes, partly because they make such an effort in the design of their presentations, without mentioning the jewelry itself, and partly because they both plan to bring their collections to the United States this fall (Hermes to New York, Chanel to LA). Chanel took control of a large temporary exhibition space, darkened the interior, and placed the jewels in a circular and light vitriol. Inspired by Celestial Designs – Stars and Stars, etc., it was mostly diamond, but also pearl, blue opal, and a gamedrop sized sapphire – Channel 1932 collection.
Hermes inspires something unusual, even in fashion – a sense of wonder. First, In 2019, she received the Golden Lion from the Venice Biennale for her collaborative work, a performance created by Lena Lapelite. Sun and sea. For Hermes, she had a group of players (dressed in black) whisper, and then gradually increase their time as they increased their activity on a small platform. At the same time, players’ shadows appeared alongside the curtain – a prelude to Pierre Hardy’s “Light and Shadow” jewelry collection.
Hermes.
Photo Dead Elizaveta Porodina / By Hermes Charity
But the ornament itself is impressive: a necklace with a large square neckline covered with pearl motherboard and colorful stones; Clear, microscopic diamond plate or, say, sapphire and single, oval stones, as if a little metro rested, and the mechanical parts and stones formed a lunar eclipse. yes.
Hermes, like his traditional mind, is creative now, and the jewelry should not only be unique but also progressive.
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