In the Couture collections of last season the most innovation was “Haute sneakers”: “Wow, – I think – Soon Haute Couture will be easy and convenient.” But what about the fashion-art? What about Christian Dior with his corsets and dresses, wich weighs 20 kg? After all, he revived interest to the Haute Couture at the time of the post-war depression.
In the depressed 1990s Haute Couture was resuscitated by John Galliano, which was a “fresh breath” then. But the spirit of this breath has weathered.
Galliano’s successor – Raf Simons – also genius, but of a different kind. His fashion is far from theatrical aesthetics. Haute Couture collections of Chanel, Gaultier, Valentino and Martin Margiella for several seasons looks like if not new, but the continuation of the previous collections.
From Armani Prive we did not expect any revelations. Donatella? Do not tell me! She just has changed Gaga to Lopez, that’s all impressions after the Versace’s show. And in the celebrity-marketing Versace was overtaken by Gaultier with Conchita Wurst and by Dior with the sweet couple of Pen-Theron (sounds like the medicine).
Ullyana Serheenko can’t come out of the maze of Russian ballet fairy tales – a good foundation for the DNA of the brand, but not so fresh topic. From other collections of so-called “Nouvelle Couture” the most promising for me is Dice Kayek. And, of course, I was pleasantly surprised by revived house Vionnet: strict lines, corporate oblique cut, novelty, originality.
This can not be said about the new collection of Schiaparelli – it looks as if Elsa by herself with the height of surrealism spat on changing new trends and new consumer needs.
But the Haute Couture has losing it’s function of the ” ideas laboratory”. Fashion houses have begun to pay attention to commercial prospects of Haute Couture: sales grows thanks to Russian and Chinese millionaires.
We also has millionaires in Ukraine (not all of them escaped to Russia) , but is there any hope to have the Ukrainian Haute Couture? Let’s hope!
Myroslav Modoslav )
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