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Autumn/Winter 2019 Ready-To-Wear

快乐12开奖结果:Givenchy

location - ▶快乐双彩玩法计划软件▶快乐双彩玩法天天计划▶快乐双彩玩法人工计划▶快乐双彩玩法在线计划▶快乐双彩玩法稳赢计划 快乐双彩玩法 www.uib2q.cn Paris, 03 Mar 2019

The courage Clare Waight Keller has gained from her slow but hot burner at Givenchy is now expressed in collections that read like the drawers of a candy store. From last month’s haute couture to Sunday evening’s ready-to-wear, her shows are packed with proposals from new tailoring silhouettes to crazy sculptural and wildly colourful flou. Having established herself as the unequalled dressmaker to British and Hollywood royalty alike and the new name in haute couture, her fourth ready-to-wear collection was the antithesis to her first one. Nearly every look seemed part of a new story, a new idea, and a new ambition; all, presumably, derived from the haute couture laboratory she now “lives for”, as she quite brilliantly told me last month.

Presented on a mile-long runway built within a boulevard in Jardin des Plantes, its windy tree tops beautifully visible through a clear roof in the blackened-out pavilion, Waight Keller’s proposals were prolific. In her tailoring – the current best-seller and for good reason – she demonstrated three new shoulders, from the hyper-curved and exaggerated to the super snug and reduced. In her flou and knitwear, she drew on some of the silhouettes from January’s copious couture collection, although it was the highly sculptural and quite complex shapes and micro-pleated print dresses inspired by Japanese vases that eventually epitomised the collection.

When things crescendoed into voluminous nylon taffeta structures borrowed from couture they were easily most compelling and – paradoxically – also the most effortless. “The couture infiltrates through all of the collections now. There are elements of it that feel so important to the progress of ready-to-wear,” Waight Keller said in a preview. It was most evident in her pristine racehorse tailoring, which drew clear lines from the architectural masterpieces she created for haute couture, and which deserved even more of an undisturbed place in the spotlight. Even just one of those new silhouettes could easily have been exercised and clarified in a multiple-look study to really hammer home the proposal. Too much of a good thing can be wonderful.

Waight Keller said she was inspired by “the beginnings of when the aristos met the urban culture in the nineties”, referring to people like Anna Fraser, Jasmine Guinness, Audrey Marnay and Dan McMillan. “The idea of this posh bourgeois background mixing with urban culture on the club scene and the street. It was like the genesis of street style and streetwear,” she reflected. From that detection, she linked to the actual genesis in a Garden of Eden analogy centred around new beginnings. The pyramidic approach Waight Keller is slowly establishing – where the language formed in her couture trickles down into every other collection – is steadily taking shape, even if a clear sense of narrative structured under one overall etymological umbrella is still under construction.

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Autumn/Winter 2019 Ready-To-Wear

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