Valentino SPRING 2022 COUTURE

Valentino SPRING

You could see the feeling in the eyes of some of Valentino’s models as he walked through the Place Vendome shopping malls to Anohni’s specially recorded song. “He was told he would never go on a couture,” Pierpaolo Piccioli said of one of them when he first looked at the previous day. In her quest to make the leading fashion room a subject for generations called “she woke up,” she decided to “keep the codes, but change the standards”: to give the wider humanity a chance to show off with haute couture, instead of waify, white, old-fashioned beauty.

Today, in the presence of just 65 people in the distance, she has broken free from the stigma attached to this treasure in a collection entitled Anatomy of Couture. He also uses the body of the house model in 50 or 60 models on the runway. I wanted to break these rules and accept the idea of different body sizes, different sizes, different ages. But it was not possible to do this with just one house model. So, I broke the rules and found 10 house models with different body sizes, ”he explained. The concept of haute couture always matched the silhouettes in the client’s body. But those silhouettes are often dreamy, embroidered, and visible on a long, thin and slender body.

A character with a half-full figure than you usually see on the couture catwalk — what could be the difference between size 0 and size 10 – changed the silhouette of Piccioli. His Roman signature lines of monastic and Hellenistic drapery transformed into the most registered, mid-century, sculptural forms. With a Hollywood lens, you can call yourself sexy. But it was not as if his new characters looked a little different in size from the airline routine, which was probably a testament to his style — and skill. You don’t believe that. You just put a mark on the box, ”said Piccioli.

His consistent imitation helped to illustrate the power of craftsmanship

The twisted straps of the ebony velvet gown slung. The model’s shoulders pulled her waist. The volume of her skirt came out evenly. Extended chocolate tulle cloth covered with two pounds of Venice glass beads decorated with hand for three months wrapped around the body.

Allowing the beads to shape and support the frame of the model. Piccioli used his method of decorating the top, too. The failing lilac dress was adorned with large arrows around the neck, something that might have looked very simple in a full-length image.

But it was not due to customization and placement of those bows on that particular neckline. In taking couture that embellished the body-con favorite of his generation slim thick. Piccioli proposed a neon coral ankle, which was not stretchy at all. But was created with four layers of georgette whose texture created a flexible natural stretch. in the body.

Over the years, she demonstrated how couture can create a silhouette around the body. Highlighting a person’s makeup or using it on a sewing machine. It makes a difference, for — as Trinny and Susannah teach us — clothes are made. One size may not fit at all, but a single-size-fits-all plan certainly does not fit. We’ve all seen that working on red carpets where people with a different body shape like a dress on the runway can end up looking inferior or overweight because the size and embellishment of the silhouette do not favor. measurement process. And then, self-confidence goes away.

If physical fitness

This is something she is sensitive to, it is because her three children are in their teens and early twenties: Gen Z-ers was raised on social media at a time when body systems had an extra dose of plastic surgery. “That’s what I share with them,” he said, referring to the connections he felt with his characters through the experience of being a father to young people today. If she is beautiful, you can be beautiful, ”said Piccioli, pointing to one of her beautiful characters.

For his generation, the message was the same. “The body changes over the years. They are still beautiful but the situation is different. I wanted to capture the beauty of how the body changes. Instead, the character that comes with growth brings confidence to their appearance. It could not have been more dramatic than Piccioli’s “regular” silhouette paired with a touch of haute couture. Such as a white Sanchez t-shirt (silk sablé crêpe) and a pearl gray Duchesse satin skirt embroidered with silver stones. Or a well-fitting Mariacarla Trousers poplin silk with hand embroidery) worn with amazing fuchsia stolen from faille.

Piccioli’s collection was another brick in his legacy as the couturier of change: Pierpaolo the Progressive. When used as a laboratory environment to develop techniques that can inform both the opportunities and values of the ready-to-wear, haute couture becomes a very appropriate part of the modern fashion system. It becomes a fashion think tank. “Since the Middle Ages, there have been canons of beauty,” said Piccioli, listing all the body images of the time. That is the real canon. “

Leave a Reply