Maria Grazia Chiuri and Pierpaolo Piccioli were seduced by dance this season, from the Russian Ballets to the New York City Ballet. A pianist was playing compositions by John Cage and Philip Glass, as a stream of girls dressed as dancers going to and from rehearsals and performances walked past her on the runway.
The Valentino show yesterday was wonderful , It was all about ballet, or more specifically, the modern dance movement and its “happenings,” but for the designers, it was also a deeper commentary on slowing down and living in the moment. “We always think fashion is cultural, not just about delivering clothes,” said Chiuri. “We want this show to be about living your moments, feeling each moment uniquely. I really love fashion. This job we do is a good opportunity to describe the time we’re in.”
The collection evolved to include scoop-neck tops, the sort of kit that’s standard in dance studios; pleated skirts that twinkled with rows of tiny crystals – it was easy to imagine them twirling on stage or anywhere else for that matter; and Valentino’s signature layered sheer gowns, rich with opulent beadwork, feathers, and incredible embroideries. Everything was just as pretty from the back, with scooped-out necklines and the sensual criss-crossing of delicate spaghetti straps against lithe bare skin.
Variety of jeweled and crystal-embroidered nude-color tulle dresses, high necklines and delicate-yet-decent transparencies, leggings layered under skirts.
But there were two sides to Valentino’s ballerina and it didn’t take long before the black swan made her debut. Abbreviated leather skirts armored in silver plates had bustling tutus stuffed underneath, while other black ballet costumes were layered over heavy roll-neck sweaters. This is the girl who is late to dance practice, drawing on a cigarette wearing a swishy fringe and crystal leather jacket. There were longer tulle skirts covered in studs too, with wisps of the black tulle worked into shrugs that barely covered shoulders. The ballerina wears her army boy’s wardrobe suited their agenda perfectly in a romantic way.
New Valentino flat ankle-strapped ballet shoe laden with silver chains, olive military coats, twinkling flesh-coloured tulle dresses and patent trench coats. Layering of dresses and tutus over sweaters and footless tights, coats tossed over stagewear on the way home from theater and bottle green, and champagne-color silk velvet.
BEAUTY
Supernatural. Fleshy rawness, but also a purity and a sweetness. Ethereal glow of Valentino’s model cast at the Espace Ephémère des Tuileries yesterday. Models had their hair pulled back into a tight strict bun.
One of the paradoxes about Valentino’s current success (sales of ready-to-wear and accessories are up more than 50 per cent on two years ago) is that the designer’s particular brand of nostalgia turns out be rather modern.