Dior celebrates the craft of couture, while Cara Delevingne without a mask irritates

The workshop – the workshop of the hands – took center stage at Dior on Monday for a polished show on the first day of Paris Couture Week, which aims to elevate the work of the house’s backstage seamstresses.

Stars flocked to the Rodin Museum, including actress Rosamund Pike and The crown star Claire Foy, who posed for the cameras, exclaiming, “It’s beautiful. I am in admiration.

Another VIP present, model and actress Cara Delevingne, was criticized for not putting on a mask.


Here are some highlights from Monday’s spring-summer 2022 couture collections:


The designer Maria Grazia Chiuri wanted to show how the profession of the “little hands” seamstresses, some of whom worked in the Dior workshop for decades, was just as important as art or fashion itself.

This muse was the springboard for a sumptuous and archetypically couture scenography.

The many white bead tapestry embroideries that adorn a structured ecru wool twill coat are a good example. Here more than ornamental, the chic embroideries draw the silhouette of the garment by their heaviness and their swag.


Elsewhere, a high-waisted ash-grey crepe skirt made the same statement: it looked almost alive thanks to a myriad of long embroidery rustling and quivering on the pixie-shaped model.

Speaking through the clothes, Chiuri seemed to say: Art and craft are one and the same.

Embroidered tights were also a big spring theme, as Dior’s army of seamstresses got to work embellishing several key pieces. Unfortunately, the weight of the sequin embroidery didn’t always cut the most flattering shapes on some tights, all of which were finely executed.

Rosamund Pike, dior fashion show, Rosamund Pike fashion Rosamund Pike poses before the presentation of the Dior Spring/Summer 2022 haute couture collection in Paris. (AP Photo/Lewis Joly)

In terms of style, there were hints of the 60s trend, with features such as Peter Pan collars appearing on sultry sheer organza blouses, or tight-fitting Bar silhouette tuxedo suits with lapels in black satin for bold men.


Strict measures were implemented throughout Paris Fashion Week to comply with French government guidelines amid a wave of new infections caused by omicron.

COVID-19, which has brought the fashion industry to its knees, has seen countless shows cancelled, even ending entire seasons, and fashion shows are only held again on the condition that guests present proof of vaccination and wear masks while seated. It’s the same rule for everyone, celebrity or journalist. France is currently recording the highest daily cases of coronavirus ever recorded in Europe.

Actress Rosumund Pike set a fine example by carefully putting on her face mask as soon as she sat down, even while wearing an intricately couture Dior headpiece. Nearby, ‘The Crown’ star Claire Foy also donned a mask after making the photo call.

Model and actress Cara Delevingne, however, turned heads for all the wrong reasons: not wearing a mask while viewing the designs from the front row.


Daniel Roseberry said of his couture collection that he wanted to respond to the “pervasive sense of exhaustion” and that sense of “fortunate” that the pandemic has given to many.

In particular, designer Schiaparelli wondered at the drawing board how the house’s signature surreal patterns – first adopted by the late and great Elsa Schiaparelli between the two world wars – can be relevant in a world where reality itself was changing.

The answer? He ascended to heaven, channeling the celestial. It was, he says, a “move to the elemental” in understanding chaos.

This couture collection thus became the realm of the haute couture priestess, the one who wore exaggerated circular headpieces, wore gold, black and white and floated sparkling and resplendent.

Gold jewelry – a specially created shade of 24K foil – floated around a model’s bust in all directions as if suspended by supernatural powers. Columnar silhouettes rose in spliced ​​white bodices that opened at the bust like a space-age flower, or in a giant graphic bib adorned with jewels in black.

Some of the silhouettes border on pastiche, like protruding spikes that emanate incoherently from a model’s bust.

But the tedious construction of many of the dresses – one had golden tentacles that spilled out like a jellyfish – surely made up for that. The palatial setting – Le Petit Palais – with its myriad moldings and busts also added to the Greek drama.


French fashion designer Thierry Mugler, whose theatrical designs have been worn by celebrities like Madonna, Lady Gaga and Cardi B, has died aged 73. The announcement on his official Instagram announced that he passed away on Sunday.

A contemporary of Jean Paul Gaultier who admired his work, Mugler was known for his architectural style, defined by broad shoulders and a slim waist. Much has been said over the years about the tensions between the two fashion greats, rumors that Gaultier says are a thing of the past.

In a bittersweet message on Monday, Gaultier said The Associated Press that his old acquaintance is now “gone to rearrange the angels and demons up there.” The sky was his color.

“Huge talent,” he added. “Always in search of perfection with his unique style!”


Olivier Theyskens brings out the romance in all of us. In Monday’s embellished affair, the Azzaro designer let go of the glitz and shimmer and went all out with unapologetic tailoring.

The brand, whose shimmering razzmatazz attracted stars such as Brigitte Bardot and Sophia Loren in the heyday of the 60s and 70s, seemed to have found the right ambassador in Theyskens.

The designs were fluid in every sense of the word. First in the way the loose, shiny tuxedos flowed down the body. Second, to mix men’s and women’s clothing on mixed androgynous models.

The house’s iconic ’70s maxi dresses have been given an update, in one case with a clean aesthetic and a plunging neckline that ends in a hoop at the midriff.

Small details, like shimmering beadwork on the shoulder, stayed true to the brand while being subtle.

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