Is there a couture crisis? The answer might depend upon how you feel about that proverbial tree crashing in the forest. If nobody cares, can it be considered a crisis? Whatever one's perspective, even the most die-hard aficionado of haute must admit that the milieu's long-festering identity crisis and recent rapid attrition have taken their toll. And when one factors in the financial angle — especially when it seems that all we hear these days, not only from retailers but designers as well, is about the glories of those ready-to-wear pre-collections — couture seems like an institution in more of a quagmire than ever. Monday's early shows did little to clarify the genre.
Not surprisingly, Giorgio Armani at Armani Privé and John Galliano at Christian Dior took wildly different approaches — Armani's reverential at times to a fault, but focused keenly on his perception of real-world glamour; Galliano's all theatricality complete with libertine leanings and faux blood by the bucket, but not a trace of red-carpet reality or allure. Each in its own way felt somewhat forced.
Ziyi Zhang was unquestionably one of the most dazzling young stars at last week's Golden Globes, looking drop-dead gorgeous in a graceful flush of chartreuse silk from Armani Privé. At the Privé presentation on Monday, word was that selections for upcoming events were being made for Michelle Pfeiffer, Hilary Swank and Chanel ex-pat Reese Witherspoon. Those ladies could well take a lesson from Zhang, because the goods are there, but boy, does a girl have to make them her own. As presented, the Privé collection ranged from siren to stuffy, styled with an intensity that sucks all the fun out of dressing up.
Armani obviously holds strident ideas about couture, believing first and foremost in an haute experience that is dramatic and ultraserious. He paraded his hyperconstructionist premise first in pantsuits, their core chic sometimes jousting for attention with improbable details. Evening came dripping in crystals and organza extensions. Here, a handful of pantsuits flashed Liza-with-a-z while diversifying Armani's true passion of the moment, the siren gown. These steamed up the premises in a wealth of variations — pale orange ribbon banding; abstract-printed silks; a devastatingly glamorous plunging-neck number with beaded skirt, and at the more bizarre end of the scope, a pair of frocks with 360-degree lanterns encircling the hips (definitely not sitting dresses). Yet the collection's most intriguing dress was also its most potentially amusing, all curves and completely encrusted in near-blinding multicolored crystals. It's the kind of dress that requires stratospheric star power and confidence (not to mention a young hairstyle) to pull off. And then — watch out."Watch out" might also have been the rallying cry at Galliano's Dior, but for a very different reason. What else do you yell when a young lovely is about to lose her head? On the up side, Galliano got the jump on the legions of fashion Antoinette-o-philes who will no doubt be swarming about as the release date of Sofia Coppola's film nears. His love of fashion and reverence for couture craft were in full flower in the high-drama cuts, endless reinvented corsetry and evocative, decorative flourishes, now rich with elaborate printing and pictures, including portraits of the young queen herself. On the downside, he ignored completely the joyful passion for fashion she indulged so recklessly before the courtly life soured. (What a show it might have been had Galliano told her entire story his way.) Rather, he focused on ghostly jailed maids, revolutionaries and executioner types, with a few skeletal digressions. And for all its intricacies, at times the costumery felt too familiar, impeccably crafted, highly complicated concoctions of the sort perfected by Galliano over the years. Along with such visual histrionics one longed for dreams of the calmer sort, if not for everyday life, then at least an idea or two to put out there for awards season. Then again, you never know. Witherspoon just might want to wear a face-covering "blood"-splattered leather jacket over a graffitied see-through skirt. At least she'd be sure to be the first.
There'll be no rest for those headed to Europe for men's, as Paris just closed the gap with Milan. According to a provisional calendar released by the Chambre Syndicale, Paris Men's Week will now open a day earlier on January 16. See new highlights on the official lineup on WWD.com. #wwdnews #wwdfashion (📷: @kukukuba)
BREAKING: Jonathan Saunders is leaving @DVF. The designer has resigned from his position as chief creative officer of Diane von Furstenberg, the company said in a statement on Friday. At the time of his hire, von Furstenberg said Saunders’ arrival symbolized and facilitated her stepping back from the day-to-day duties that occupy the work of a full-time creative director. The British designer joined DVF in May 2016 and was in charge of all product categories. #wwdnews
For @versace_official’s spring ad campaign, the brand emphasized the archival prints from the spring tribute collection dedicated to the late Gianni Versace. Closing out the show were five of Gianni’s favorite models: Cindy, Naomi, Carla, Helena, and Claudia. Bowing on December 18, the new campaign is yet another tribute to supermodel-dom as the images by Steven Meisel are fronted by @iamnaomicampbell, @cturlington, @gisele and more. #wwdfashion
Four-time Oscar-nominated actress Annette Bening has been waiting 20 years to play Gloria Graham in "Film Stars Don't Die in Liverpool," which will be released on December 29. The movie about Graham – a Hollywood star known for her controversial relationship with a younger Englishman named Peter Turner – is based off a memoir Turned wrote. "She felt vulnerable to him, because she loved him, she really did love him. And anyone that we really truly are in love with, we re vulnerable to in a very deep way," said Bening. Read our full interview with the modern icon of an actress on WWD.com. #wwdeye (📷: @ninebagatelles; Styled by @cristinaehrlich)
The crisp white button down: a staple that can be dressed up or down and accessorized throughout the decades. Here, on a Art Basel-goer in 2017 on the left and on the iconic Audrey Hepburn in “Roman Holiday” in 1953 on the right. #tbt #wwdfashion (📷: Andrew Morales)
Known for her work with @victoriassecret, 25-year-old model @georgiafowler is raising her profile in Hollywood. Fowler stars in @vincecamuto’s holiday campaign, which launched in partnership with “Pitch Perfect 3.” “Almost every shoot with Vince Camuto, I’ve had to face a fear…It was definitely a challenge. I’m so grateful for it, though. I’ve always wanted to be a pop star, so that was the perfect chance,” Fowler said. Head to WWD.com to read about Fowler’s experience modeling, including at the #VSFashionShow, and her relationship with Nick Jonas. #wwdeye (📷: @jilliansollazzo)
EXCLUSIVE: Huda Kattan just became the first beauty influencer to land a major beauty deal. Kattan's business, @hudabeauty, has received a minority investment from private equity firm TSG Consumer Partners. The brand, which industry sources say is on track to do $200 million in retail sales for 2017, will receive support on product, retail and geographic expansion through the deal. Get all the details on the deal and read @_a_collins' interview with Kattan on WWD.com. Link in bio. (📷: @jgreenery) #wwdbeauty #wwdnews
Peruvian model @juanaburga_official – who is known for walking the runways of @rodarte, @viviennewestwood and @torybuch – is making the move to the big screen with drama “Los Últimos.” The film premiered in Argentina in November and arrives in the U.S. and Europe in 2018. On making the switch from modeling to acting, Burga told WWD: “It’s a completely different thing – a lot of people think it’s similar or try to connect things, especially like getting used to the camera or being looked at all the time or playing these different characrers, but film is a completely different story.” #wwdeye (📷: @jgreenery)
London’s newly opened @designmuseum will look back on the life and work of Azzedine Alaïa in a show that the designer helped to curate before he died of heart failure last month. The retrospective, which Alaïa had worked on with Mark Wilson, chief curator of the @groningermuseum, will look at the impact of his work worldwide. The show, “Azzedine Alaïa: The Couturier,” will run from May 10 to October 7. Read more about the exhibit on WWD.com #wwdnews #wwdfashion (📷: @zefashioninsider)