Elie Saab's is pretty, and employs a lot of fine detailing and interesting techniques. My only real issue is with the styling.
I mean, damn can't a girl get some chap stick? For the most part, haggardly was the word on faces. I understand the desire to keep it toned down and nude since the clothes are muted in color, but Elie kind of took it a little too far.
I mean, damn can't a girl get some chap stick? For the most part, haggardly was the word on faces. I understand the desire to keep it toned down and nude since the clothes are muted in color, but Elie kind of took it a little too far.
Can't a girl get some chap stick for REALS. Y'know, as the years go by, my good will towards Elie Saab has transformed into apathy, and with this show, antipathy. Halle Berry's Oscar dress isn't going to live in our hearts forever, Elie, and it would be nice if you would do something more than just evening wear some time. You know? I don't necessarily mean that every designer should be working out a specific concept whenever they have a showing, but I do think that never having any concept or reference point beyond "Gowns!" makes the designer's work much less memorable. In the future, this is how reminiscent conversations about Elie Saab will go:
Person 1: Hey, remember that one Elie Saab collection?
Person 2: Which one?
Person 1: You know, the one with...the gowns.
Person 2: ...
And, I mean, it goes without saying that there are a lot of gorgeous dresses this time around:
STATUS: Lovely stuff but, as usual, not exactly one for the ages.
C'est supercool, non? And the hair is pretty bangin' too! There's a fan-like look on Chanel Iman you're going to ADORE. And, let yourself gander at this:
So much for the eye to see! I loved Chanel for different reasons, but this is probably best of couture when you consider it as a whole, complete package. It's quite rare for me to truly adore a show that lacks color, but in this case the effect is marvelous and appropriate.
Thus, it has been written.
You are definitely right - this is couture at its best, from concept through execution. As reference points, you can't really go wrong with the 80s and Spirographs.
STATUS: Totally agree, this is pretty genius - I much prefer this exploration of geometry in fashion to his previous one.
Givenchy was not the best nor the worst. Again, we see this weird makeup choice: now turned a whiter shade of pale and resembling death almost. Death isn't becoming in this show:
If the look or tone or motif had anything to do with Día de los Muertos, perhaps I'd understand. But it really doesn't.
As far as clothes are concerned, you'll find some marvelous, diaphanous materials, some fabulous cowl-veils, and gorgeously delicate embellishments.
I could NOT agree with you more about Givenchy's undead make up; it made looking at the deet shots kind of a trying experience. I have not been a tremendous Givenchy fan of late; I am not smelling what Ricardo Tisci is cooking. This collection is so much lighter (in tone and in the garments themselves - diaphonous is a good word for it) than his previous ones, though, and I feel like we might be able to take some steps toward reconciliating. I didn't love everything about this show...
...but I finally feel like I might be starting to understand the language that Tisci is speaking.
STATUS: This show expresses Tisci's X factor to me in a way I was previously unaware of.
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