![]() ![]() Shades in the past have been rather lacking in pigment and prone The old style quints were the gold and silver. Performance the only finishes that I noticed a difference from Metallic/sparkle silver and in the centre a metallic/sparkle gold. Peach, shimmery/frosty golden cream, satin finish cool brown, Movement so felt uncomfortable swatching as thoroughly as I normally would) so it was only when I tried it at home that it becameĪpparent how ultra shimmery/frosty the majority of shades were. On Versailles (I had a SA right by my side watching my every Only quickly swatched some shades of the palettes before settling I bought #566 Versailles (£42) as it looked likeĪ nice wash of sheer shades and a liner combination. Matte, satiny, iridescent and ultra-shimmery finishes. Packaging is now more sleek and the reformulated shadows come in "Glamour, excess, too much." Seventy years later, Raf Simons is coming to the same primal realization: forbidden fruit tastes sweetest.For this Fall Dior has reinvented the 5 Couleurs palette, the "Coming out of the austerity of the Second World War, Dior was inspired by something he wasn't supposed to be inspired by," he said. It was telling that Simons was fascinated by Dior's profligacy with his New Look. But then there was an abstract chain mail layered over that purity, and the deep slits in coats and dresses (two were even entirely open at the side) translated into a deeply sexual physicality, striking from a designer who was once considered a master of rigorous understatement. There was a monastic purity in white chiffon and triple organza Guinevere dresses, and velvet coats clutched demurely (echoing Simons' last collection for Jil Sander). The weight of his outerwear was balanced by ethereal dresses composed of cut feathers or rippling pleats. Today's purple catwalk was studded with huge lumpen objects that Simons imagined as forbidden fruit. But he found a new garden this time: Flemish painter Hieronymus Bosch's fantastical Garden of Earthly Delights, with its ultimate contrast between Adam and Eve's Paradise and the Purgatory into which they were cast when they disobeyed God. ![]() "We wanted to deconstruct such a loaded heritage, specifically in the coats."ĭior's femmes fleurs, his flowers, have been a guiding light for Simons in his time at the house. "Fighting out of Dior's DNA," he called it. The opportunity a sleeve offers to deconstruct and build anew is unparalleled. Looking at Simons' sleeve treatments, it was easy to see why these dangly appurtenances to a human form should become the focal point for fashion's finest minds. The sleeve was a point of particular obsession for Cristóbal Balenciaga, the master of them all. "Dior is always a fairy tale, no matter what I'm doing," Simons said with a knowing laugh, but today's show had a special through-the-looking-glass magic. ![]() In fact, a hallucinatory quality penetrated the entire presentation. The purple grass carpet worked perfectly well as an acid hallucination at a festival. The pointillist-painted panels could have been stained-glass windows-or flowers. Raf Simons described the stunning set for Dior's Couture show today as part church, part garden, part nightclub in Ibiza. ![]()
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