Born-Again Couture: Versace Looks For – and Finds – the Silver Lining, While Ferre’ Bustles and Buttons Up Dior
Long Gianni Silver
Gianni Versace is going to the Oscars for the first time this year, and he's got just the right collection for the trip. Versace keeps talking about being a "modern" couturier, and it has to be said that the...
Gianni Versace is going to the Oscars for the first time this year, and he's got just the right collection for the trip. Versace keeps talking about being a "modern" couturier, and it has to be said that the collection he presented Saturday night at the Ritz was the hippest of the Paris weekend.
This was a collection designed with a sure hand and a clear head. Gianni suffers from no fashion identity crisis: he loves high-voltage gllitz and glamour, and he doesn't give a fig if the old grandes dames disapprove. You ain't ever gonna see Marie Helene de Rothschild or Pammi Harriman wearing Versace, but you will find Diana of Wales, free at last, kicking up her heels in Gianni's ankle boots.
This season, Versace took silver - already the trendiest look in fashion - and made it sizzle. In fact, almost the whole show was dedicated to Shining On. There were silver stockings, silver shoes and even silvered faces; makeup artist Francois Nars said they were supposed to look moonlit. The shimmery silver theme continued into blouses, day skirts, trenchcoats, evening dresses and haute overalls. The best looks alloyed a touch of silver with less precious elements, like short black skirts with suspenders.
For the customer who wants something a little less flashy, Versace offered up sexy A-line suits in the prettiest pastels - some with a bit of silver trim. Versace shares Lagerfeld's love of big ballgowns, even if there aren't too many places to wear them these days. Gianni's tend to be in satin, wrinkled mousseline or a tortured combination of the two. But these extravaganzas were just runway exercises to prove that Gianni's atelier is as good as any in Paris. It is, and so was Gianni's collection.
Ferre's Flight of Fancy
He's trying as hard as he can, and sometimes Gianfranco Ferre gets it right at Christian Dior. Sometimes he doesn't. Monday, alas, was one of those disappointing days. Ferre gave in to his urge to overwhelm the audience, which included everybody from Anouk Aimee to Claude Pompidou. There were too many bustles and buttons and not enough of the crisp suits that have made Ferre the success he is. In fact, the best part of the collection were Gianfranco's drop-dead pantsuits, which not only fit in with the mood of Paris but showed what a great tailor Ferre is and why the Dior atelier is legendary for its quality and craftsmanship. When he kept his dresses simple, Ferre scored high. One knockout, called "Restauration," was short and chic, done in the simplest white cloque and silk crepe, with overstitched ribbon appliques. It's perfect for the Ladies Who Lunch - at the Relais Plaza, of course.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast