Profusion of flowers and embroidered overlays scholars games were on the agenda of the second Haute Couture Raf Simons for Christian Dior.
Monday, January 21, 1730, the Tuileries Garden. The snow has covered the carpet with pearl gray place for Dior Haute Couture welcome its clients. Never mind: once seated warm tent especially erected for the occasion, the latter quickly forget the winter. Hazel that decorate the podium have not leaves, but the models that arise soon boxwood bushes are a breath of fresh spring in the room.
Under the eyes of Valérie Trierweiler, Princess Charlene of Monaco, Isabelle Huppert, Carole Bouquet and Laetitia Casta, strict cocktail dress midnight blue satin succeeds evening dresses blue cloud. Raf Simons digs its groove. The bustier dresses, already in the spotlight during his first parade Couture six months ago, are redesigned, resized, embroidered. Overlays and asymmetries reveal the talent workshops and tailor blur Avenue Montaigne.
Over the parade progresses, the dresses are covered with flowers. Face a sleeve orange minimalist looks. Battery cuts reveal a tulle adorned with fine pink flowers. Blush and beige daffodil yellow, burgundy and blue sky ... Belgian designer dares dissonant nuances, but each figure is portable.
Lips sealed rhinestones, pale and neck generated by a flapper wig we think Anne Hathaway in Les Miserables, the models suggest hands in pockets, perched on high heels pantyhose rendered invisible by which overlap. They lack the brilliance of a Marion Cotillard or Eva Herzigova gaiety of a new face care home. A good look at them, we say that those flowers are certainly less easy to pick than were the pretty girls strands magnified by John Galliano for Dior joining. Whatever. Times have changed, and the key is that the graft has taken: Haute Couture house has never seemed more modern.
Monday, January 21, 1730, the Tuileries Garden. The snow has covered the carpet with pearl gray place for Dior Haute Couture welcome its clients. Never mind: once seated warm tent especially erected for the occasion, the latter quickly forget the winter. Hazel that decorate the podium have not leaves, but the models that arise soon boxwood bushes are a breath of fresh spring in the room.
Under the eyes of Valérie Trierweiler, Princess Charlene of Monaco, Isabelle Huppert, Carole Bouquet and Laetitia Casta, strict cocktail dress midnight blue satin succeeds evening dresses blue cloud. Raf Simons digs its groove. The bustier dresses, already in the spotlight during his first parade Couture six months ago, are redesigned, resized, embroidered. Overlays and asymmetries reveal the talent workshops and tailor blur Avenue Montaigne.
Over the parade progresses, the dresses are covered with flowers. Face a sleeve orange minimalist looks. Battery cuts reveal a tulle adorned with fine pink flowers. Blush and beige daffodil yellow, burgundy and blue sky ... Belgian designer dares dissonant nuances, but each figure is portable.
Lips sealed rhinestones, pale and neck generated by a flapper wig we think Anne Hathaway in Les Miserables, the models suggest hands in pockets, perched on high heels pantyhose rendered invisible by which overlap. They lack the brilliance of a Marion Cotillard or Eva Herzigova gaiety of a new face care home. A good look at them, we say that those flowers are certainly less easy to pick than were the pretty girls strands magnified by John Galliano for Dior joining. Whatever. Times have changed, and the key is that the graft has taken: Haute Couture house has never seemed more modern.
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