Ending the Haute Couture season on an ethereal note, Pierpaolo Piccioli offered one of Valentino's most casual Couture collections so far. The billowing, flowing volumes, which are so dear to the Italian house, still dominated, but gone were the sumptuous adornments and romantic embellishments, as they were replaced by sleek and pleated pastel hued garments with hints of vivid colors. Piccioli's first Haute Couture outing after Maria Grazia Chiuri's departure for Dior came with a more restrained yet sophisticated attitude that focused on essential cuts and shapes; and it was better this way. As the saying goes: less is more – even when it comes to Couture. [CONTINUE READING...]
A bare room. A box of amazing modernism. A wonder of minimalism decorated with monumental works from the Tiroche DeLeon collection that transform the room in the Hotel Salomon de Rothschild into something akin to a modern art museum. The music of Alexander Desplat wafts through the air, created ad hoc for the show, bars of narrative strength, delicately intense. This is how Pierpaolo Piccioli’s first solo couture show - since Maria Grazia Chiuri’s departure for Dior – begins. And the designer chose a language of extreme simplicity, a Hellenic cleanliness. Citing a fascination with Greek mythology and small gestures that make haute couture so unique. “I wanted another type of fashion, reduced to its essence, created to be of its time….I started with a common dream, one which defines our deepest ideas of ourselves,” the designer explained to MFF just a few hours before the show. “A dream is timeless, its something eternal like the legendary ancient Greeks who talked about our unconscious, our impulses and our feelings. It’s a bit like high fashion, a suspended universe where time has been suspended thanks to the small rituals that make it unique. It is these small moments that I wanted to celebrate and glorify.” In a collection that construes a simple formality and a delicate, timid form of decoration. The names of the 59 looks evoke a purist Olympia of divinity, walking graciously in flat sandals crafted with pronounced soles and strips of crocodile skin. There’s Galatea, a powder coloured tunic embellished with crystals and tone on tone micro-sequins, veiled in a cloud of tulle. Artemide, a double-breasted coat embroidered with micro feathers in zodiac signs and fantastical animals. Leda, one of the leaders of the pack, with a flying griffin, and Tiche, an immaculate triumph of hand cut cotton flowers embroidered on organza. Then there’s Apollo, a dress of chiffon braids in 15 tones of yellow. On to Armonia, Era, Prometeo, Iride, Anteros or Aletheia. In a triumph of sculpted pleats, crystal embroidery and woven flames of plissé. And meters and meters of pleats and frills in delicate shades of pink or simple elementary forms, transformed into severe tunics and rigorous capes. In a pure show of love for high fashion. Like Demetra, a tunic in frosted organza, embroidered with a triumph of iridescent sequins and glass sticks, veiled in a chiffon cloak that evokes memories of the ritual with which the clothes a fiercely conserved in the atelier.
By Giampietro Baudo - MFF Magazine for Fashion