PARIS – Lara Stone, another British model of Dutch descent often compared to Brigitte Bardot, the head models.comList of top 50 models in the world from 2010 to 2012, has done many things in the field of fashion.
She has appeared on the cover of Vogue, has a Calvin Klein exclusive, and is married to a celebrity (British comedian David Walliams; they divorced in 2015). But even in her prime, she rarely walked the couture catwalk.
Pierpaolo Piccioli, creative director of Valentino, says her body is not considered a “premium body”. Her bust is too big; Her steps, dubbed “Lara lurch”, are just too weird.
But that’s exactly why Mr Piccioli wanted Miss Stone, now 38, in his gig this week. Also Kristen McMenamy, 57 years old; Marie-Sophie Wilson, 73, and countless models in dresses ranging from 0 to 10, medium to towering heights, with various bust, butt, and thigh swaps and abs that would otherwise have been overlooked. removed from work. (There are also men of all ages, if not sizes.)
The point, said Mr. Piccioli, is to refute the idea that there is only one ideal, one definition of beauty – he calls it the “rule of beauty” in the preview – not must be a person who feels as good about themselves as they really are.
Use an ostrich feather to knock me down.
For years, couture has focused on the main theme: key statement, main set, main venue, key jewelry. It’s a part of fashion where imagination reigns, the crazier the better (and the more perfume you can sell). Fah with wearability! Leave it there for the outfit to be ready to wear. All kinds of mistakes are justified in the service of the “dream”.
What it means is never quite clear – Whose dream? Consumers? Designer? However, since haute couture is out of reach for all but 1/10th of a percentage point, it seems right (you can’t get it, but you can daydream about it and buy other things in meantime).
Now there are some reasons to dress wild, and plenty of reasons not to. Or at least not bragging about it. The whole dream scenario runs the risk of becoming irrelevant. No one has made that clearer than Viktor & Rolf, returning to the runway after a two-year hiatus with their own genre of fashion thrillers inspired by Nosferatu.
There were looming silhouettes, bare fingernails and neat suits and governess dresses with exaggerated shoulders – built on a elasticated superstructure, they began around the ears – making models look like they’re being swallowed whole by their clothes. Help! Save them! The creative vision has grown (literally) out of control.
In a necessary reset, the excess will be exchanged for intimacy. The Valentino show was held in the white-carpeted rooms of the home’s headquarters in Place Vendôme, with a relatively small audience of 60, so close to the models that guests could see them breathe.
They can also see that Mr Piccioli has crafted his dresses – some dangerously small, some with chiffon that wraps around the bodice and pulls back like their own slide – to fit their bodies. inner body, instead of choosing the body to wear with the dress. Or pajamas; luxurious harem overalls; regal taffetas; sculpted, sparkling evening gowns. Opera gowns, treated like sumptuous throw blankets.
He’s not trying to preach diversity, now a common goal in fashion, but to celebrate individuality, in all its mid-way variations. There is a difference. One is a public position, the other is a form of self-care.
In this, it might be the most modern thing that happened all week.
It’s more of a current idea than that of queen empowerment in Fendi anyway, where Kim Jones minimizes the sci-fi obsession of classical Greek and Roman times, cutting it down with a a touch of Vatican luxury and an aura of splendor, and conjures up a collection of papal black and white, crimson and purple evening gowns. Pearl encrusted and mink embroidery, hand-painted in Pietà trompe l’oeil marble and other statues, they have serious artistry and elegance, but none of the subversion creates momentum towards before.
For that, check out Glenn Martens’ time as a guest designer for Jean Paul Gaultier.
Since the founder Retired in 2020, the house invited a different designer to interpret the archive each season; first, Chitose Abe of Sacai and now Mr. Martens, aka Y/Project designer and Diesel’s creative director. He built his collection on Gaultier’s signature corset – padded hips, tight belt – and then placed it on the runway so tight guests could see the flesh. bulge below.
Paired with emerald and champagne ball gowns, their skirts molded with mountains of string to look like both boiling seas and kegs of whipped cream, the capes fringed with coral. thorns (get it?) and dresses woven from strips of moisture-wicking tulle and chiffon. with the trains’ rivers, it’s a reminder that no matter how splendid the robes, there is man, in all its apparent reality, underneath. This is Mr. Martens’ first couture collection, but it won’t be his last.
https://www.nytimes.com/2022/01/28/style/valentino-gaultier-fendi-couture.html Overtrading for Intimacy – The New York Times