Zuhair Murad Haute Couture, Fall 2014
Murad served up satin shawl collars and slick tuxedo pants as a nod to men’s eveningwear, but on the whole this was red carpet, leg and lightbulb flashing, lady of leisure stuff, as was to be expected. Models in heavy kohl eyeliner with slicked back hair walked the runway to Son Lux’s “Easy,” showing off a series of heavily-worked fabrics cut close to the body.
There were some interesting touches with asymmetric elements (pleats twisted over hips and a webbed effect in crystal embellisment) and loose zebra stripes of sequins which fell into abstraction as they tumbled down gowns. Murad relied on his usual design influences, which worked their way to the surface from the start. Color-wise, the mostly monochrome opening pieces gave way to gowns with multicolored hippyish prints and palettes, then blocks of blues and pinks. │ via Style
Chanel Haute Couture, Fall 2014
Everything was intricately embroidered or boasted sequins or crystals – across bodices, or jackets, smatterings of gold climbing up hems or clustering at collars, dancing around necklines and straps. The level of fabrication perfectly showed off the special couture skills that this house has at its disposal and it was a delight to see on display.
For cocktail attire there came a strong focus on trapeze shapes, gentle A-lines for skirts and dresses that spanned a palette of smoky greys (mimicked also in the make-up tones), off-white, pale gold, navy and black. Bags were like satchels and though used sparingly made for another clever modern note.
And while there won’t be a woman out there who wouldn’t not dream of stepping out in one of those serious gowns to end, we can’t help but know the real story here will end up being those flip-flop-style flats. Comfortable couture. │ via Vogue
ZUHAIR MURAD HAUTE COUTURE S/S 2014
"By one count, Zuhair Murad’s wedding dress alone bloomed with upwards of 25,000 floral appliqués. The mystical garden segment of his collection overall contained a multitude of camellias, roses, peonies, gentian, and more, all shimmering atop gowns, jumpsuits, and cocktail frocks. He added fauna to complement the flora: Black sequins delineated a zebra print, and feathers crept up the neck of a gauzy halter gown. Embroidery on a full-length white caftan revealed a python print down the body and panther spots along the sleeves.
Outside his garden, a grouping of daywear looks featured ivory suiting—pencil skirts, trousers, open jackets—all fronted in a double row of gold buttons. The look was his Parisian ideal, Murad explained before the show. Then he singled out a New Look-style outfit in guipure lace as his synthesis of modern femininity. But if any pieces in the collection adhered to that description, they were the ones that showed off the upper back, their fabric scooped out or cross-strapped like swimsuits.” │ via Style.
VALENTINO HAUTE COUTURE S/S 2014
"The set was specially commissioned and executed in partnership with the Rome Opera House, depicting everything from garden flowers to cloudy skies.
Inspiration came from nature then - from the ever more complex nature of femininity - and from the world more broadly. At times this seemed fragile and ephemeral - a swarm of butterflies alighting on a cape - at others fierce, if always with lightness at play - lions, snakes and even gorillas appearing as intarsia on coats.
The collection played off the apparently simple, even austere, against the magnificently ornamental too. Oversized coats and dresses in earthy shades looked almost seamless such was their lack of embellishment. They rubbed shoulders with the most elaborate black gown densely covered with inky silk flowers.
'The woman is always at the center,' read the show notes. 'She is a multi-faceted and elusive figure dressed in ever-changing guises…' She is also quite possibly in possession of quite the finest wardrobe money can buy.” │ via Grazia.