So the Billboard awards were last night and some gorgeous fashion along with it, here are some of my favourite looks from last night!
Taylor Swift wore a cut-out blue shine metallic dress by Zuhair Murad, teaming with simple earrings and up-do.
Miley Cyrus attended in a gem encrusted diamond check Balmain jumpsuit and teamed with black sandal heels and slicked hair.
Kelly Rowland wore a silver Rami Al Ali Couture dress with plunge neckline and centre slit leg detail, with matching silver sandal heels and neat up-do to team.
Selena Gomez wore a white Atelier Versace gown with a high leg slit cascading from a waving slit from the neckline.
I finished watching and reviewing the couture collections earlier than I expected - I feel like Superman now! - and so I’m pretty ready to fill you in with all my comments. In general I was pleased with what I saw, even if it seems more and more obvious in my opinion that Couture is becoming more and more similar to prêt-à-porter: everything becomes simpler, everything becomes more wearable.
Day 1
As usual Versace opens the couture runways in Paris, and this time I really hoped some of the subtlety Donatella put in both mens and womenswear collections was infused in this collection as well - what’s better than a subtle elegant couture gown? At the beginning I really thought this was the case - beautiful the total white or total black looks, even trousers on the runway, with sinuous cuts showing that much of skin just to be considered sexy without being vulgar. When the first electric blue piece went out I thought ‘ok, that is nice’. But then it started going worse and w(h)orse: giant oversize belts, more and more skin showing, and more and more predictable gowns. Missed opportunity.
Day 2
Schiaparelli opened the day with the collection designed by the in-house team after the departure of Marco Zanini. I want to spend some words on this line even if I didn’t quite like it, because I’m really worried for the future of this just-reborn brand. I don’t see where it’s going, and unless the next creative director really pushes the boundaries, this one is going to be the proof that sometimes is better to leave the maison dormant than to restore it. This collection was nice, but Schiaparelli can’t be nice. It has to be SHOCKING. And overall, it lacked cohesion.
Thank god Rad Hourani (photo 1) saved me. Even if it was a very short collection, more a presentation than a runway show actually, it was great in every sense, from putting menswear in a couture show to the clothes in themselves, merging the polished quality of kimono clothing to details from male suits, like the lapels. Everything is extremely futuristic - just look at the materials. And the very bright pop of colour wasn’t missing either.
Colour which was present in Dior(photo 2) as well. It’s amazing to see how Raf Simons can go from an inspiration to a radically different one in the space of a season: how could the 'period’ gowns we saw last season come from the same maison as this colourful contemporary extravaganza? There were some unusual shots for Dior: varnish thigh-length boots, transparent plastic coats, Picasso-like prints. Still, there was Dior at its full: ballerina dresses, strapless gowns with full skirts, luxurious materials, some bling which never risks of being over the top. It was a feast for the eye and for the soul, as well as for the mass of Dior addicts dreaming after seeing such an amazing show.
I was disappointed by Giambattista Valli (photo 3) as he’s one of the designers I like the most. But this time there was nothing original about his collection. Don’t get me wrong: I really think this looks were beautiful, but I saw this collection more as a tribute than as an original work. It’s Chanel, maybe even Dior - but very little Giambattista Valli.
Day 3
It was smart of Kaiser Karl to open Chanelcouture show (photo 4) with an explosion of solid colours; and it was as smart as this to pair these colours with simple straight-lined silhouettes. Of course there were the cream and powder tones dear to the maison, but everything seemed more precise and detailed, brighter in some way; even the total black looks had strong, bold lines; the flowers in the last looks - except being too heavy in some instances - looked like glowing of a new light. New things came from little details: like the exaggerated shoulders or the slightly more feminine edgy atmosphere of the whole show.
Julien Fournié chose feminine elongated silhouettes. His clothes went from the simplest to the extreme of decoration, with coral-like necklaces and accessories and multicoloured prints.
There was Russia in Ulyana Sergeenko’s collection (photo 5) as usual. It was very visible in her looks, as usual. Heavier in some of them, subtler in others. Still, what I really liked from her this time was the caricatural quality of her work: everything was exaggerated until it became ironic. The prints were extremely graphic and bold, the model was forced in rigid postures by the dresses, the very high waist of many looks made the model’s legs look extremely long - maybe too long. But after all, it was obvious that was the goal. Haute couture that can’t take itself too seriously anymore. Ulyana is growing up.
The bamboo forest on Armani Privé catwalk (photo 6) was enough to understand we were in Asia for this collection. But then, the oriental inspiration came very strongly from the clothes themselves: there was chiffon, glossy silk, some bamboo printed ethereal fabric, kimono belts, and an essentiality of cut which one can only find in Japanese tradition. The colours were lighted of a very toned down glow and the bling was to the minimum, extremely chic.
Day 4
A 'Lady Gagaish’ extravaganza with Frank Sorbier opened the fourth day, with encrusted lace, voluminous gowns made of what looks like chiffon foulards and sculptural outfits. More relaxed was the atmosphere with Elie Saab (photo 7). Every season I say 'next one I WON’T put his looks in my post’, because you know, it’s true, he always does the same things. Yet, you can’t help looking at his gowns with open mouth and a sparkle in your eyes. They are really beautiful gowns, no other word can be used to describe it appropriately. And I must admit, there was something different this year: no strapless draped glamorous gowns, but more traditional silhouettes and shapes, like princesses from a not-so-far-away past sliding down the catwalk. The glamour was there but it was in some way less glam and more sophisticated.
Jean Paul Gaultier presented his first collection after the closing of the prêt-à-porter line. I was disappointed. It felt like watching a Moschino show from the 80s. Viktor & Rolf (photo 8) never disappoint instead. They go very wearable and understated when they do ready-to-wear, but with couture they choose art all the way. Yet, it’s not art for art’s sake; it’s art AND fashion, because apart from all the irony they put in their clothes, the exaggeration, the fantasy in their looks, there are always those outfits that stay on the verge between couture and ready-to-wear. This collection was fantastic in taking a fairy-tale little gown - I can clearly see Snow White wearing every single piee - with puffy skirts and flowery maxi-prints, and making it sort of resort, paired with flip-flops and essential straw hats.
If you want a perfect end of the day, just ask Valentino (photo 9). I was skeptical about this collection at the beginning: it looked like something already seen, it looked like D&G, bla bla bla. After the fifth or sixth look I was in love - again - with what Valentino designers had to offer. It was all about love: as simple as that. There were lines from literary works stitched to the skirts of the more opulent gowns, but love was especially visible in the romantic aura surrounding every piece of the collection. Russia gave the inspiration for the decorations and with the prints, colourful and traditionally decadent at the same time. Nothing was too much, everything was flawless.
Day 5
It’s good to see there’s someone apart from the big brands doing very good couture fashion. This was the case with Serkan Cura (photo 10). It was definitely over the top. Yet, every piece started from one simple piece: the bustier. And so, here they went with countless versions of it, with fur, chiffon, lace. There was even a male model wearing one of the pieces. And it was sexy.
I finish my review by mentioning Ralph & Russo which presented a very pleasant collection even if it lacked cohesion overall: it looked like there were two parallel collections going on. Nevertheless, there were some happy results, like the layered skirts - kinda reminded me of Capucci’s 'Nine skirt gown’ -, the algid floor-length capes and the total chiffon looks.
After a long vacation from my blog - which I swear, it’s finished - I couldn’t help making my come back with a major red carpet event: the Met Gala Ball - not a case if it’s considered the Oscars of fashion.
This year the annual ball gave start to the exhibit ‘China: Through the Looking Glass’ and stars gathered in New York to show the most amazing and bizarre set of dresses you could imagine. In the last year, I must admit, I was bored by how few people dressed badly for such events, but the Met Gala is definitely the occasion in which celebrities show their worst - and I couldn’t be more pleased.
BEST DRESSED
You know I always prefer starting from the three best dressed and leave the juicy part at the end. It was pretty easy to choose, actually: most of the stars opted for dresses which were inspired by Chinese art and tradition, and this translated into costume and embarrassing moments most of the times - though Lady Gaga and Fan Bingbing showed on the red carpet in beautiful maxi kimonos. There were only few who nailed it, and these are my top 3.
Kendall Jenner in Calvin Klein Collection Every best dressed list needs at least one simple dress - that’s why I chose her instead of Bee Shaffer, beautifully dresses in a stunning burgundy Alexander McQueen gown. And usually the most simple and elegant dresses on the red carpet are by Calvin Klein collection - seriously, I realised there’s at least a CK gown in each one of my red carpet reports. Kendall is young, beautiful, one of the most successful models of the moment, and of course she couldn’t but choose a blingy dress with a sexy twist - the strings on the side showing the right amount of skin. Loved the turtleneck, which balances the naked parts. ★★★+
Sienna Miller in Thakoon Jacket + trousers is always a good idea for a very formal red carpet: it never gets old and you’re pretty sure very few people are going to wear it. That’s why I’m obsessed with this fringed ruby red Thakoon ensemble. The black elements make the colour pop and give a sophisticated aura. ★★★★+
Uma Thurman in Atelier Versace I don’t know if it’s the dress of if it’s Uma, I only know the combination of the two is just OUTSTANDING. She looked like a goddess coming from the sky to show us how mediocre we all are. It’s a pretty traditional choice for a red carpet event, and you all know I don’t really like traditional, but in this case everything is too right not to be noticed: the crisp white lights up the red carpet, the asymmetrical shape flatters the body, the draping gives lightness and elegance. I wanna be Uma Thurman, FML. ★★★★★
WORST DRESSED
All the celebrities condemned to hell and fire - and Sarah Jessica Parker’s outfit was definitely on topic. All the celebrities we love, after all, because they’re brave enough to wear something awful - or maybe they’re just not conscious of what they’re doing. Most of all, all the celebrities who, with their outfits, inspire the web to create the most hilarious memes of the moment. I have four special mentions for the bottom 3 list, the four outfits which were really close to gain this ambitious prize and yet they were surpassed by celebrities who literally throw themselves inside the closet to get dressed for the event: Jamie Bochert who went for a cheap hooker style, Madonna with her obsession in promoting her album, which made her choose an outfit stating REBEL HEART on the skirt (awful) and Grimes, sporting a little LEOPARD dress which you can definitely find at Primark for £9.99 and last but not least, Donatella Versace looking more and more like a a Afghan hound.
Sarah Jessica Parker in Philip Treacy hat and H&M dress She definitely won, together with Rihanna, the most exhilarating memes of the web for their crazy over-the-top outfits. It’s not even a problem of brand - after all, we had, during the past, celebrities rocking H&M’s dresses, from Natalie Portman to the US first lady Michelle Obama - and the bizarre headpiece she’s wearing could even be defined a piece of art - after all, it’s Philip Treacy’s. No, the problem is just that this black gown is TERRIFYING. It looks like some sort of rubbish bag with litter thrown over it. I love you, Carrie, but I’ve always preferred the other three girls of the bunch. ††††
Kerry Washington in Prada Kerry is one of the hottest actress now and Prada is one of my favourite brands. It couldn’t go wrong. Unfortunately the stylist who worked on this look managed to create a Frankenstein from scratch. The colour is horrendous on this silhouette, everything is too much, from the embroideries, to the glossy silk, to the maxi bows on the shoulders. For every red carpet event there’s a celebrity looking like a birthday cake, and this time, I’m sorry, it was Kerry. ††††
Zendaya in custom Fausto Puglisi Even if she didn’t make it to the memes - or at least, I haven’t seen it yet - she even managed to beat SJP. The top part is nice and sexy, but when you get to the skirt, here you have the problems. It’s sort of intimidating and frightening, looking like a UFO with mysterious signs on it and a long tale with patterns reminding of the Backgammon board. It looks heavy, old-fashioned, sort of a nice little dress turned into something suitable for a Halloween party. A cheap Halloween party. †††††
I say goodbye to you all, but not before sharing with you the most perfect meme human mind has ever created.
Blake Lively wore an Atelier Versace design inspired by New York City’s Liberty of Freedom Statue with a dramatic transformation on the Met Gala 2022 red carpet.
“I think Versace thought I was crazy when I called them and pitched this…Rather than looking at fashion from the Gilded Age, I wanted to look at architecture”
• Transforms (on colour co-ordinated carpet) from copper to pattinated
• The column detailing of the dress homage to the Empire State building
• Draping from the Statue of Liberty
• Train features the constellation of Grand Central Station
• Seven spikes on the crown like the seven spikes the Statue of Liberty had representing the seven seas and seven continents representing inclusivity welcomness and freedom
• Twenty-five stones representing Statue of Liberty’s twenty-five windows
Blake Lively’s dress is an homage to New York City and the Statue of Liberty.
The draping represents the Statue of Liberty and the transition is a reference to the oxidation of the statue. The skirt is embroidered with the signs of the zodiac as an homage to the celestial painted ceiling of Grand Central Station. The bodice of her gown is a nod to the architecture of NYC, in particular, the Empire State Building. Her crown has seven tiers and 25 stones like Statue Liberty’s crown has seven rays and 25 windows.
