Better Late than Never: Couture Week Was like Really Pretty

A model at Dior via Vogue.com

The recurring theme this couture week seemed to be impossibly pretty. While "pretty" sounds like an oversimplification, there is of course more substance underneath the surface but perhaps the lightness of it all is just what we needed. If you like me, weren't in attendance of any of the shows and flipped through the slideshows while it poured outside and you avoided any and all political news, you'll know what I mean by that necessary lightness. Every once in a while people question the relevance of couture, it's only available to a small amount of clientele and it's another collection squeezed into the already full fashion calendar. Personally, the extravagance of it all is why I got into fashion in the first place also my admiration of the craft. In times like these it's hard to even talk or care about fashion but I'm glad it's there and I was so glad to see the collections this season. But, I digress, let's get into it.

It seems as though you can't go long without seeing some major change to the fashion calendar; the most recent coming from Versace who recently announced they would be forgoing the traditional runway this couture week in favor of a showroom presentation. Yet, Donatella's trademark sexy and extravagance were still there. There were seventeen looks, a mixture of floor-length gowns with thigh-high slits and glitzy dresses that ended way above the knee. The collection featured pain-stakingly detailed pleats, woven knots and shimmering metallics. All of that detail created some seriously stunning pieces.

On the opposite end of the presentation spectrum was Chanel with the usual over the top runway show. Models opened the show gliding down mirrored runways in belted pastel suits and elegantly placed matching hats. The look was sharp, pretty and classic but also a nod to the Chanel of yesteryear. Lagerfeld played on this silhouette incorporating this sharpness into a gown and a stunning glittering pant suit, this look ushered in a number of glittering gowns and dressed including the sequin bits that closed and absolutely stole the show. Accented with waterfalls of white and pink feathers, the last few dresses were arguably the most instagrammed of the show. Lagerfeld closed with the show arm in arm with Lily Rose Depp in an airy, pale pink ruffled dress that trailed behind her.

Maria Grazia Chiuri found her lightness in flower crowns and lush greenery. Moss and other greenery covered the venue and lights and streamers dangled from the ceiling at the designer's couture debut for Christian Dior. However, it was far from the bright, fairy tale woodlands you might be imagining. The color palette was muted, dark tones. The show opened with a number of black, ankle-grazing skirts and models outfitted in sheer eye masks. Flower crowns and headdresses offset the darkness of the venue. They were less than perfect, they looked natural like they were just plucked from the ground and arranged imperfectly, airy and light.

Last but not least, and because this post would be pages long if I wrote about every collection, let’s talk about Valentino. The now solo Pierpaolo Piccioli, presented a dreamy, ethereal collection, that absolutely encompasses the lightness I’ve been going on about. The collection was an assortment of floor grazing gowns featuring pleats, ruffles shimmering metallics (I’m sensing a trend here) and floral appliqué. The beauty was natural and simple and each look was more angelic than the last.

Of course the remaining couture shows followed with the theme. There were ruffled gowns at Giambattisa Valli and Viktor & Rolf, whose couture collection played on Kintsugi, piecing together bits and pieces of fabric and lining them in gold. There were also the faces crafted onto pieces at Galliano's Margiela, one of the standouts was a face crafted in tulle that stole the show.