Dreamy Francesco

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It’s not the first time when I admit that Italians do it better, in case cuisine, and their craftsmanship in fashion. Since Milan fashion week is getting better and better each season with exciting designers like Massimo Giorgetti, Alessandro Dell’AcQua, Stella Jean and Alesssandro Michele, the rivalry is strong – but Francesco Scognamiglio wins my heart with his spring-summer 2016 outing, which was all about dreamy, sheer dresses. The delicate lace details and ruffled sleeves of these flawless gowns are mesmerising. Magdalena Frackowiak, Aya Jones and Peyton Knight looked like angels wearing those sensual, white silhouettes… and if talking of Francesco, a big deal is coming up – during the upcoming haute couture week in Paris, the designer will present his first ever couture collection! So we can all expect an excessive dose of modern fairy-tale looks and one-of-a-kind pieces.

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Fashion History. Dior SS15

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The music was so bad, that Anna Wintour run away in the middle of the show, screaming “horrible fashion”. Well. Half that’s true. The music certainly was bad, and the clothes were also not really good… Raf Simons continues the same idea as during his last couture- to show history of fashion changing throughout one show. First we had medival gowns, pilgrim caftans. Then, lady-like skirt-and-tops. At the end, cosmic jumpsuits. Mostly all-white collection, with few drops of red velvet and blue tulle, felt for me not so good. It kind of didn’t have this thing that Raf usually brings to Dior. This modernity of past or how he calls it, starts to be boring. And I still can’t forgive the shoes. They looked to heavy, and destroyed nearly all looks. I don’t want to hate, but this thing doesn’t work on me. Hope Dior is not falling down again…

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HC: Blend of Two. Chanel AW14

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Like the dying embers of a baroque world, a gilded mirror hung in a modernist white space above a digitally-flamed fire, at the Chanel Haute Couture show yesterday in Paris. For this collection, Karl Lagerfeld thought of his vision of modernism. White neoprene gowns with baroque embroideries; curvilinear forms of a Le Corbusier building, the cloth moulded in an egg shape around the body, without any side seams; 21st Cinderella dresses; and a strange blend of the famous Paris-Edinburgh & Paris-Dubai collections Karl did earlier this year. The collection in my opinion is a bit normal. And somehow, I prefer couture on heels. Please, no more gladiator sandals! P.s. The last look was shown by Ashleigh Good, the seven month pregnant model. She wore a white cape with splendorous, gold, embroidered back. That moment was the most special in the whole collection.

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HC: Modern Medieval. Dior AW14

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The word that describes Raf Simons at Dior perfectly is future. But this time for Dior, he did it in a bit different way. In a Star Trek like chamber in Musee Rodin, where the whiteness of the orchidees and the marble floors striked the guests eyes, we had a venture through different centuries. Simons was interested, the program notes explained, about the way different time periods informed and influenced fashion. And more than that, he said afterward, he found himself thinking about Christian Dior’s fascination with the Belle Époque and asking himself, “If I had been [working] at that time, what would be my interest, conceptually or technically or architecturally? What would I be excited about?” The show was divided into eight groups, hopping not decades but centuries—for example, from the Marie Antoinette-inspired pannier silhouettes of the opening to astronauts’ jumpsuits, back to embroidered court jackets and forward again to twenties volumes. The floor lenght fur coats worn with over-sized trousers were my favourite. Looking at the collection, yes, indeed, it was beautiful. The embroidered bar jackets from 50’s and sweeping, long-line coats inspired by Edwardian era were all a fantasy. And Raf made all ultra pure and ultra modern, after all. With a tease of past.

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