There were too many brands to talk about in my first post about the Spring Couture shows in Paris, so I’m back for part two. Spoiler: no one did worse than Chanel in the latter half of the week.
Christian Dior opened its show with a blinding mirage of shiny gold and silver two-piece suits and gowns. The brand is seemingly trying to single-handedly bring back gaucho-length pants, and this time it’s styled as couture business wear. Many of the blazers that walked the first half of the show were, sad to say, weak. The first 57 looks had a cohesiveness, tying in this weird shiny fabric. Is it silk? I’m not sure we’ll ever know, but luckily these odd pieces were broken up with a few gorgeous tulle layers with a carefully crafted nude illusion. Then, the collection takes a hard left turn with the introduction of bright red and jewel-toned knotted tulle gowns. Dior loves the nude illusion this season, featuring in almost every piece that walked in the latter half of the show.
Honestly, it seems like the first and second half of the collection could be from separate trains of thought. All the looks push a goddess narrative, but the ways in which the first half and the second half display that narrative are vastly different. Overall, I’m confused, but not exactly mad. I could do without the first 50 looks of the collection, though. See the rest of the collection here.
A brand that had a similar vision with arguably better execution, is Zuhair Murad. The Lebanese designer is known for his exquisite gowns, and more virally, his wedding collections. This season, Murad takes embroidery to center stage, adorning every single gown with jewels, beads, and crystals. His gowns didn’t disappoint as they flowed down the runway. He crafted his dresses in sapphire blue, red, gold, peach, black, and white. He created a modern Egyptian goddess with long sleeves, cutouts in the bodices, and attractive necklines.
My jaw dropped as I looked through this collection. One word that came to me throughout the whole collection was: decadent. Murad created a modern goddess who was not only an Egyptian queen in a past life, but she’s also super-rich. See every look here.
One thing is for sure about Valentino runway shows: you always know it’s Valentino. Their Spring 2020 Couture show featured bright, in-your-face looks that not only varied in color but varied in texture, pattern, and silhouette. Literally, it’s a grab bag of weird mermaid skirts, ruffled dresses, and tree headdresses. I’m not sure how to describe this one. I’m also not sure if there’s a message, but there sure is a vision. The best part seems to be the giant earrings worn by half of the models because it was a cohesive part of the collection and one of the few plusses. The wide, vast array of patterns and fabrics confuse me even as I look through the collection for the 10th time. Some of the later gowns in the show were even creased and ill-fitting. Valentino is one of the most well-known brands in the world, and they put creased, ugly gowns down the runway?
I wish this collection had a cohesive thread throughout. I leave it each time with more questions than answers, but my biggest question is: Why?
See the 74-look collection here.