The calm before the storm; Couture Fashion Week. A breath of fresh air before the hectic, mind-boggling fashion month commences. There is something so refreshing in couture, the unattainable albeit beautiful designs, the historic prestige keeping it afloat and the bizarre idea that there is actually someone out there that can not only afford to wear it, but would actually wear these exquisite pieces of artwork. Essentially couture is there for us to admire and enjoy the incredible craftsmanship.
The show that filled our Instagram and Tumblr feeds with angelic images of Lara Stone and her fellow models backstage adorned in elegant floral headpieces. Donatella Versace's attempts to give us a softer side to the house were indeed well-received. On to a definite winner, festival style became luxurious with pale pastel chiffon ruffles, frayed edges all round and figure-skimming longline silhouettes.
Karl Lagerfeld's couture settings are known to be phenomenal and the casino he prepped for autumn was no exception. As expected all his favourite muses were in attendance from Kristen Stewart to Julianne Moore to Stella Tennant, each dressed in an outfit Lagerfeld had designed for them specifically. The collection itself was both a throwback and a jump into the future; dabbling in new fabric technology, the classic Chanel two-piece was reinvented with computer generated quilting on varying textured fabrics to a dazzling effect. The models were unrecognisable with strict-looking, rather freakish short bobbed hair, including Kendall Jenner who walked the final wedding piece.
Champagne sparkles and princess dresses were juxtaposed by Nirvana's Come As You Are and dark rock chick cat-eye make-up. The floor scraping gowns came in a variety of colours from champagne gold to the palest pink to bottle green and there were even a handful of dark floral patterns. What was most mesmerising was how the fabric swished and swayed around the model's ankles as they gilded down the catwalk, even on the most embellished of dress. An illusion of sparkle was created through layers of intricate beads, sequins and appliqué.
The anticipation for this collection was high, following the mixed reviews earlier this year on Galliano's debut couture collection for Maison Margiela. It seems this bizarre collection has cleared up the shadow of doubt cast over the house's decision to employ John Galliano. The looks varied from stripped back simple shapes formed of grey wool coating, to a potato sack strapped around the neck. Somehow it fits; transformation and instinct are the key words here.
Is it unorthodox to recommend the Game of Thrones wardrobe team make a one stop shop to Valentino for season six? The collection was a gorgeous collaboration of Edwardian style capes and lace dresses, in jet black, deep red and vintage patterns. The models wore their hair with the front braided back with golden leaves entwined that matched heavy golden pendants that adorned their necks; they marched through the Romanesque street set to haunting female choirs. The high-neck and catholic styles worked against lace and sheer panelling to a mysterious, feminine effect.
"Dior is always a fairytale, no matter what I'm doing" Raf said after the show. The venue, described as part nightclub, part church, was the perfect backdrop for the Belgian designer's latest collection for the oldest couture house. Backless dresses, chain detailing and chunky block-heeled sandals saw the classic dior silhouette take on an unexpected twist. Details such as bell-bottomed sleeves and barbed wire embellishment navigated away from the classic and into the future Raf Simons' holds for the house.