![]() The most interesting, in my opinion, is the first part of the collection inspired, as designers explained, by the works of a Russian avant-garde artist Marc Chagall, awarded the honor to paint the ceiling of the Parisian Opera Garnier. Pronounced corsets emphasize ingenious beauty of youth that does not require additional decorations. To give even more lightness to already weightless dresses, silvery clouds and stars float on them (« In some ways, you are flying when you are in love, » – confesses Chiuri). ![]() Neo-Juliettes as if dropped in our not so affected by sensuality twenty first century from Verona’s sixteenth, wear dresses with bodices and airy hems embroidered with quotes from Shakespeare and « The Divine Comedy » of Dante. From season to season customers and other less fortunate audience fall in love with creations of the Italians, but for the first time Maria Grazia and Pierpaolo themselves reveal their feelings, expressing them literally. The color palette changing from milky white to malachite, from carmine to Burgundy seems to be a reflection in Venetian patina veiled mirrors.Įvery second look from the collection deserves to be exhibited in Paris Fashion Galliera Museum: like Venice, creations of Valentino are timeless.Ī hymn to love with its constant companions: youth and lightness sang the design duo of Maria Grazia Chiuri and Pierpaolo Picciolo in their spring-summer haute couture collection for Valentino, the most romantic of the Parisian fashion houses. The handwriting of the duo is recognizable: on one side, flowing floor-length tunic dresses, translucent, with air pleating and false simplicity of cut brocade and velvet, embellished with rich gilded embroidery. Mark’s Square – this was the task the designers set for the new season. Recreation of the atmosphere of Venice – a city, in which time stays still with its luxury palaces reflect in turquoise waters of the channels and the carnival spins on St. Having created a fairy tale jointly for nearly 10 years, will they be able to carry on apart?įrench haute couture catwalks are reigned by Italians: after the triumphs of Versace and Giambattista Valli and a breathtaking show of the living legend of the world of impeccable taste and style Armani for the Armani Privé, the last day of the haute couture week in Paris is marked by a duo of Maria Grazia Currie and Pierpaolo Picciolo, who continue making history in the house of Valentino. ![]() Officially confirmed rumors of Maria Grazia Currie entering Dior and moving to Paris break the legendary designer couple and bring the anxiety of uncertainty in one of the most stable and commercially successful brands. And in the seductive « page suit » made of gilded brocade with pleated shorts I can perfectly imagine a hiding from a pursuit of her father and brother Lucrezia Borgia.īut the main question hanging in the air of not only this show, but the entire fashion week, is linked to the future of the house of Valentino. ![]() Blood-red sets evoke associations with a cardinal’s mantle. Impeccably fitted black velvet dress with a low-cut mesh neckline could have been worn by Juliet in mourning for her beloved one. Signature combination of contrasting elements in a single look results in a unique femininity à la Valentino – sensual and rebellious at the same time. The fashion house Valentino, together with all the cultural world, is celebrating the 400th anniversary of Shakespeare – the main poet of humanity, with the majority of his romantic characters coming from Italy.Įxcellently paraphrased into a modern taste sets of snow-white pleated collar and sloping shoulder line, ending in the puff sleeves are complemented with biker boots and massive chains inlaid with large stones, and a skull-pendant. Where else on European soil in those days there was such a concentration of beauty, art and passion if not on the Apennine Peninsula? The outfits created by the Roman duo Pierpaolo Picciolo and Mary Grace Currie are so historically accurate that it seems sometimes that the designers travel in time, they fly back to the fifteen century and then adapt the ruling in the courts of Florence, Milan and Vatican silhouettes to the realities of the twenty-first one. Examining the looks from Valentino’s couture collection you immediately realize why the Renaissance was born in Italy. ![]()
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