Runway couture dresses10/22/2023 ![]() While Schiaparelli's lion head dress divided the internet after setting it on fire, Rolland's gold gown appeared the very next day and seemed to unify every online person around the idea that the look was divine. He wanted to represent spiritual women, “dressed from the Bahia churches’ baroque.” And it appears that perhaps Rolland did have his mind on the Oscars after all, since he said that the entire collection was inspired by Marcel Camus's Oscar-winning Orfeu Negro, a 1960 adaptation of the Greek myth of Orpheus and Eurydice, set in a favela in Rio de Janeiro during Carnaval. In the show notes, Rolland wrote that the look was meant to represent the conquistadors’ gold bursting in the rising sun's light. This particular look was inspired by Brazil's patron saint, Nossa Senhora da Conceição Aparecida, whose original image is enshrined in the central high altar in Aparecida, Brazil. The Oscar statuette could, quite frankly, never, ever. She was the heavenly sculpture of a god come to life. Gold bangles twisted around her arms like wire. A teardrop cut was carved out at the center for her face and a sliver of torso, reminding everyone she was ethereal but still earthly. It was the finale look, appearing like liquid gold frozen mid-pour, gushing out from the model's shoulders and creating a glistening cloqué lamé tent to shield her from the mortals in the front row. ![]() Surely they're all enlightened souls who aren't thinking about anything as petty as a revenge dress-but what if they are? A suggestion: Consider turning heads in the phenomenal Stéphane Rolland gold dress that debuted on the couture runway yesterday in Paris. ![]() It's fun to consider what the nominees will wear, but maybe even more fun to think about how those who were snubbed could make a dramatic entrance. It took 380 artisans 280,000 hours to embroider the 340-square-meter installation, which will be open to the public from January 25 to 30 as an ephemeral art exhibition.Yesterday, the 2023 Oscar nominations were announced, and red carpet outfit predictions quickly followed. So, to underline her theme, she decked out her show space in the garden of the Musée Rodin in highly graphic, gorgeous embroidered tapestries created by the artists Madhvi and Manu Parekh and hand-made by Chanakya, the school of crafts in India-with whom Chiuri always works-which educates women in generational crafts such as specialized embroidery. Watching it live, you’d have no idea that this was Chiuri’s premise for the collection, which only served to prove her point. And to illustrate how embroidery can construct an entire silhouette, she produced the kicky geometric draw-string jumpsuit with crystal and jet tubing that opened the show. She explained how a guipure-like embroidered breastplate in silk crepe with silk cord threads was actually part of the construction of a long black silk cady dress, and not a decorative detail as a layman might assume. A long ecru cashmere cape was pieced together with embroidery- not plain stitching-so invisible it looked as if the entire shape had been knitted in one piece. It’s as if embroidery is something that’s only decorative, that it’s not really part of the design process,” she said.ĭuring fittings a few days before the show, Chiuri demonstrated her point in the studio. “The craftsmanship that finishes is not valued. Through a crystallizing palette of black, white, and grays, she demonstrated the difference between said construction and the surface decoration people often mistake it for. Foregoing any direct references, Chiuri devoted it to the masterful but often unobvious constructions unique to haute couture garments, which are hand-crafted by experts working together. Her Christian Dior collection was an investment in human connection. I prefer to spend time with real people.” ![]() Probably, I’m a little bit old-fashioned, but I’m more interested in the real thing. I’d like us to be more together and support each other, and put value on work. “I’m not interested in this moment, it’s more important to speak about humanity. I’m not,” she said, with zero hesitation. Maria Grazia Chiuri always speaks so passionately about craftsmanship and the human touch, it would have been a wasted opportunity not to get her reaction to the new year’s favorite talking point: the metaverse.
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