Personalised fashion is the main title of Alexandre Vauthier spring/summer couture collection for this season. The collection is diverse and unique. The designer worked extensively on different shapes and volumes.
This collection speaks to cosmopolitan women with a flair from the 80s.
Throughout the collection, we saw pouf minidress made of concentric swirls of feathers, white-tie tailcoat with ample trousers gathered at the ankles, Suits and dresses made with ribbons of plissé ruches in cerulean organza twisted by a pair of silver high-heel boots and different flirty shapes of dresses that only Vauthier knows how to mix sexy with chic.
Tony Ward Couture Collection spring/summer 2020 is a tribute to femininity, royalty and power.
The Tony Ward woman is as always strong and fabulous. This collection is realised with sublime hand embroidery and supreme choice of colours and material. The designer as always caters for all taste and styles. We saw different silhouettes and dress lengths but all pieces are comfortable and easy to wear. Check the full collection.
Cannot wait for the Full Bridal Collection this year,
Elie Saab couture SS20 was magical. It was far from minimal and celebrated the female form in every way. The collection was everything grand, luxurious and meticulous.
This collection was royal. Each piece was painted with greatness and nobility. Elie Saab is known to be the sculpturer of feminism. His collection for Spring and Summer 2020 was inspired by the Mexican culture that was visible through the motive and embroidery on each dress.
The Haute Couture Spring Summer 2020 collection is a mix of both Europe & Mexico with a modern twist. The dresses looked monumental with embroideries and layers of florals and pearls, featured shades of white, cream and blush, with gold detailing, with structured shoulders that added strength to the romantic gowns.
Monochromatic looks in matte fabrics and sensual silhouette added boldness and elegance to the collection in the form of one-color gowns. Maximalism was extended to the accessories with gold and oversized earings and sunglasses decorated with crystals.
“When Judy talked about this idea of goddesses, my mind immediately came back to my memories of the statues in Rome, of Botticelli, my point of view that is more Italian.”
Maria Grazia Chiuri joined forces with Judy Chicago to realize the idea of the show. So, on the first day of the couture season, we entered the birth canal of Chicago’s installation, there to watch Chiuri summon a golden host of goddesses onto a womb-shaped runway. The backdrop of the runaway featured a message “What if Women rued the world” as a strong statement from the designer to the world.
Over a six-month preparation, Chiuri’s conversation with Chicago birthed this idea about worship of goddesses and the struggle of women artists to find their own means of expression.
So there were the Dior goddesses, in Chiuri in shiffon and silk, walking in their Roman sandals, silken-fringe dresses conjured without stitching, one shoulder drappe dresses, wrap-over floor-length pleated shirtdress with a blouse and a skirt knotted to one side. The Gold color was dominant and big pieces of accessories were features with almost every look.
One year since she replaced the late Karl Lagerfeld, Viard has certainly had some large shoes to fill, in addition to being the first female designer of the brand since Coco Chanel herself. Shrubs, a stone fountain and sheets hung on washing lines set the scene for the collection – chosen by designer Virginie Viard to show how Coco Chanel’s experiences contributed to her mix of high and low fashion. Chanel was 11 years old when her mother died and her father was a traveling salesman so he decided that Coco would be sent to the convent of Aubazine in the remote French region of Corrèze.
As mentioned in her biography Chanel was taught by the nuns how to sew and gave her the tools to forge a life as an independent woman for herself in later years. The aesthetic of the convent stayed with Chanel forever. Therefore, the collection was all white, simple, and clean.
The collection was inspired by schoolgirls uniforms alongside shoes with built-in white ankle socks. Viard developed a soft, pastel woven-and-sequined fabric that was the only deviation from the palette of black, gray, mauve, cream, and white. The whole collection embraced the sobriety, lightness, and comfort that reflect Viard’s signaature and understanding of the needs of Chanel customers around the world.
The runway was inspired by the closter of abbey d’Aubazine, the garden, the flowers and the fountain.
Viard embrassed her vision with romantic pieces, long skirt and holiday dresses even the wedding dress was simple, light and comfortable.
