Josephine Skriver photographed by Patrick Demarchelier in the Château de Versailles. A mythical destination that has inspired the House of Dior and its creators over the years. A first glimpse of Dior’s secret to be revealed later this Friday evening.
Couture to Adore - Polish model Anja Rubik wears an assortment of unique pieces by Dior Couture for the May 2012 issue of Vogue Japan. Photographed by Patrick Demarchelier and styled by Anna Dello Russo, Anja models intricate floor-length gowns, feather headwear and sunglasses as she poses in this clean studio shoot.
(via thefrontrowview)
“Seedlings do not be ashamed to face big names. One who joined last year, the exclusive club of high fashion made us a beautiful collection of classic elegance revisited, such as asymmetrical silk blouses, creamy white or pale salmon, revealing a shoulder, wearing a big knot on the other, and sublimely matched with a long skirt garnet red wave a short skirt or false right croco bronze …
Old Feraud and Torrente, Christophe Josse, who created his house in 2004, likes scrolls and volumes. The muslin is king, and if Air feminine favorite for the bright pink robe with deep V neckline. Simply divine! Yes, pink is popular, the paler the more sustained, it is taken “in touch” on a model green garden, it smells like spring…”
(via letelegramme, tfs)
“The program notes ensured that the “petites mains” — the old Italian seamstresses, many of whom have been with the house for decades — were credited.
One strapless gown with embroidered beads and adornments, it read, took 850 hours to make. Another 1,200 hours. Even without that detail, it didn’t fail to astonish revelers as it swept past with its long train.
A full dress in soft-white invisible tulle was perfected with small lace gloves that wrapped around just two fingers.
The show’s only downside was its dependence on white — something that was broken up in the last spring-summer collection with flashes of scarlet.
‘Yes, there is no red, and it was a complete accident,’ said Chiuri in a strong Italian accent. ‘I woke up this morning and realized: Oh dear, I forgot the red!’”
(via washingtonpost, vogue)
“His designs have won numerous ‘celebrities’, especially for his glamorous and sophisticated finish. For spring-summer 2012, his vision of Haute Couture presents very different proposals together, but with clear commitment to the long dress . On the one hand, glass designs and embroidered lace romantic creations, on the other, cross-dressing as a handkerchief fall at the hips, and, in conclusion, aesthetic models ‘seventies’. Of course, your link is a line silhouette ‘mermaid’, with a predominance of cleavage ‘heart’ and to cover the shoulders, very rigid pattern jackets.”
“Elie Saab unveiled ball gowns in a sea of pastels from mint, peach, periwinkle, grey and cream with splashes of shimmer for his spring/summer haute couture collection, which rounded up the last day of Paris Fashion Week.
Much of the fabric was sheer above and below the waist, gently revealing models’ torsos and legs underneath.
Floral prints on full skirts gave gowns an air of royalty and showed why Saab is one of the undisputed kings of red carpet dressing. Many of the dresses were belted at the waist.
Shoulders were emphasised to mark the structure of the dresses, in thick layers of tulle or silk, embroidered with silver.
Saab said he found his inspiration in fairytales.
“In this collection I thought about a very modern princess, I though of the fairytales which all girls dream of in order to come up with this collection which I hope you’ll like. Concerning colours, I thought of very soft colours but ones that still retained the dazzle I wanted to achieve in this collection,” he said after the show.”
“Dilek Hanif presents a new season of clothes timeless , enhanced by a principle of grace and elegance of luxurious but versatile, which reads the value of tradition and excellence of craftsmanship, bringing all creation to the real desires of women and the freedom to wear creations Couture with the naturalness of all time.
Elegance and femininity are expressed through volumes clean, cuts hyper-refined, luxurious embroidery and vivid colors , bright as gold, green, red, turquoise and purple, alternating with the delicacy of the timeless couture shades such as black, the ‘ivory and powder.
The sophisticated contrast material and color fabrics and combines different shades, creating sparkling decorations effect sensual tattoo on transparencies, games voluminous ruffles of lengths from the red carpet and deep cuts to find the skin in silhouette elegant and seductive at the same time.
The iconic tutu-inspired dress in costumes of the dancers classic look with a thoroughly modern twist that captures the attitude of his lively and mischievous younger customers.”
“It appears that something out of the Land Of The Lost has slithered its way over to Giorgio’s drawing board and then perhaps further into his subconscious. Or consciousness, considering what a delight his latest delivery proved to be.
What started out as forest green, pearl and mauve shimmery satin circle and pencil skirts, paired with peaked-shoulder jackets (though it must be said; the jackets were rather ho-hum, a little too Balmainesque), quickly evolved into something out of the ordinary; a trippy, futuristic snake inspired collection that consisted of daring details and even more daring materials.
Furthermore, the model stream was sent out in black serpent headpieces; an adorable added extra. Mesh and sequins came together on several pieces and in all shades of greens while python prints popped as statement pieces, paired with everything else that was going on.
The really fabulous stuff came in the lime green feathered overcoats, the sturdy, wave-structured shirts and the metallic ball gowns, blazoned with crystal and sequin embellishment. Shiny, slimey serpents were stitched into the paired sequined clutches, to boot. It was over the top and overwhelmingly playful – how very couture of you, Giorgio.”
