From Maria Grazia Chiuri’s Dior spring-summer 2023 ready-to-wear show collection there was one very real handbag that just rocketed to the top of editors’ wish lists. The new ladylike model with elegant top handle straps and an ingenious detail evoking the CD signature provides the finishing touch to a retro-infused collection that reimagined the classic Dior silhouette: DIOR Toujours. Conceived according to the highest standards of craftsmanship, this object of desire embodies the virtuosity of Dior’s leather ateliers. Each step in its manufacture requires infinite meticulousness, from cutting the leather to applying the macrocannage motif.For fans of the chic Lady Dior bag and the classic St Honoré tote – two quintessential Dior top handle styles – should consider this new companion with discreet gold hardware a more bookish addition to the family. For on-the-go women whose focus is practicality rather than vanity, like Chiuri herself this is a perfect modern – and covetable – proposition.
LÉTRANGE, the epitome of quiet luxury in the fashion industry, has garnered acclaim for its unparalleled craftsmanship and timeless elegance. LÉTRANGE showcases a meticulously curated collection of exceptional leather goods that exude the essence of quiet luxury. Drawing inspiration from the rich legacy of French design, each piece reflects the brand's deep-rooted commitment to sophistication and the artistry of Parisian style.LÉTRANGE prides itself on seamlessly harmonizing timeless allure with innovative versatility. The brand's handbags embody this unique fusion, catering to the discerning tastes of individuals who appreciate understated elegance. From the iconic Empreinte to the exquisite Égo, each piece in the collection is a testament to LÉTRANGE's dedication to exceptional quality and distinctive style.As the demand for logo-free, understated luxury continues to surge, LÉTRANGE stands at the forefront of the quiet luxury landscape. The brand’s exceptional leather goods and customisation service resonate deeply with clients seeking to express their personal style through refined accessories - those who value a lifelong investment piece, without compromising on a timeless aesthetic.LÉTRANGE's remarkable success in the quiet luxury market is a testament to the visionary leadership of Sébastien Létrange and the Létrange family. Their passion, expertise, and unwavering commitment to unparalleled quality have established LÉTRANGE as an iconic symbol of quiet luxury.In the ever-evolving realm of fashion, LÉTRANGE continues to redefine the concept of quiet luxury. With its dedication to impeccable craftsmanship, graceful designs, and independent ownership, the brand captivates those who value the ultimate leather goods experience.
The collection at Valentino’s Haute Couture show at Château de Chantilly where the catwalk was woven around circular bassin d’eau, with the perfect backdrop of the elegant silhouette of the 17th century manor, signposted the week's other relevant themes: youthfulness, simplicity, ease and paradoxes. Pierpaolo Piccioli has always loved a long, fluid shift and he made the case for this by showcasing a collection devoid of pyrotechnics, superfluous gimmicks and crowd-pleasing distractions. It was simple, yet elegant. Nothing complicated, nothing too voluminous.The showcase that started with a familiar basic crisp white shirt paired with a denim, interspersed with twinkling footwear, was followed with body-hugging dresses purely for the petite-waisted, a shoulder-baring blouse and capes, perennial favourites that never go out of fashion. Here, the strength in Piccioli’s collection lay in its details. The line came glittering with swirls of dainty, meticulous embroidery, placed prettily on traditional silhouettes. It was formal-wear but never OTT and quite appealing.Examined up close, the workmanship defied comprehension. The stitching was so fine it was invisible. It signaled the heart-stopping delicacy that distinguished the collection. The use of cotton amidst the lace, organza, and filigree, as in a coral separate with tone-on-tone flower print and embroidery that felt embossed. The same approach was echoed in a billowy trapeze-shaped gown, whose circular feathered ruffles were made from 500 feet of white organza. To make the feathers even more featherlight and preternaturally weightless, they were burned one by one to achieve the right quivering cadence.All of that passes the tests of mass influence, relevance, and great timing, but it’s not the ultimate thing that distinguishes and elevates the practice of haute couture to the true dream level. That resides in the uses of technique, and the application of handcrafted skills. On those points, the Roman couture workers at the Valentino ateliers surpassed themselves. Close up, the micro fan-pleating, intricately pieced together from segments of silk and jersey, the microscopically narrow lines of silver bugle beads cascading irregularly from shoulder to floor, the encrustations of three different designs of floral guipure cut-out lace—all this and very much more was just dreamy, in every case.There were flowing pleated gowns, statuesque floor-length tabards and silhouettes that caterwauled simplicity with fabric letting lose and trailing out behind as the models walked, the dresses were astoundingly beautiful in motion. The gold and black sheaves of wheat on a white dress were simple but striking. On the contrary, a coat in gold lamé embroidered in menswear with paillettes, and silk thread was as opulent as anything on the runways this week, and the same is true of a tulle toga embroidered with yet more crystals yet sheer and chic to the core.There was an easy breezy confidence to the clothes, one honed over decades of designing experience. The fabric came draped, woven polka dots moulded into careless shrugs and jackets, slinky, seductive dresses bared from a single shoulder, designs that stood out without trying too hard. He may be one of most senior designers but Piccioli’s spirit is indubitably young.Will this new collection by Piccioli be enough to redefine women’s eveningwear? Highly likely. It was unrestricted and sexy! The influence of Valentino and its easy-to-wear silhouette is bound to be a dream-fulfiller for many, when taken up by brands further down the market.
What is a fashion show but a vivacious burst of energy, a chance for designers to experiment, create magic, set trends and, above all, make inroads into retail? Did the recent Christian Dior Fall 2023 Couture fit the bill on all these counts? Yes!Maria Grazia Chiuri did what she does best — cutting and molding ball gowns like it’s nobody’s business, dabbling with the ease of a pro into draped long gowns, voluminous hems, pleats and backless numbers criss-crossed with embroidery. It was a fairytale just like every season but a notch higher as it incorporated the cultural heritage with sculptural drapes — with models serenely poised on the runway.There was substance, but there was movement. The contrast of lightness and weight was at the very core of the collection featuring dresses with vertical pleats, dryad dresses, gilded lace and lots of lattice work embroideries and the finishing of pearl beadsThe coat/cape hybrid that yielded a result as spectacular as a swingy beige crystal organza with sleeves of lustrous sable was breathtakingly beautiful. It was the construction of the silhouette that caterwauled — ‘so very classic!’.Chiuri’s take on the heritage of Dior suit was also like a breath of fresh air — she used separates and paired jackets over matching long skirts and dresses — revamping the idea of formality with ageless, modern chic.The weight of her outerwear was balanced by ethereal dresses composed of white, beige, silver and pale gold with rippling pleats. There was a reclusive purity in beige chiffon and triple organza dresses, and coats clutched demurely. But then there was an abstract chain mail layered over that purity, and the deep slits in coats and dresses translated into a deeply feminine appeal.Chiuri she doesn’t need to create dramatic silhouettes for her clothes to get attention. Her clothes step off the catwalk, directly on to the retail rack without any translation.The drama is very much within the design itself!The collection was so cohesive and inclusive that any woman in any part of the world can find something here and that can be accredited to Chiuri who has travelled across the continents to quite really understand a Dior woman. Her line-up created veritable heirlooms for the unabashedly bold, vivacious woman. It was sheer glamour with easy-breezy monochromatic contradictions. What it skipped was a sense of grandeur or build-up. There was no ball gown finale to answer the hanging question as to what Natalie Portman might wear to the next Academy Awards—though that’s usually arranged as a bespoke off-runway matter anyway.Chiuru’s been known for her radical arty streaks and it was as much fun seeing her toe minimalistic lines. Her strong eye for fashion brought in the accolades.
The models walked around a marble floored squared, an impression of Fendi’s headquarter in Rome. As Klaus Nomi’s ‘The Cold Song played out, it was a balmy evening, teetering towards Paris’ tropical summer, the cold winds are long gone. It was quite the apt setting for a fashion week dedicated to Fall 2023 couture.The elegant surroundings and even Mother Nature pitching in with the right weather quite did it well for Kim Jones who placed the creative synergy between himself and Delfina Delletrez this season with the inclusion of Fendi haute jewellery by Delfina. One thing one can be certain about is that Fendi is never droned on, their collection is always inspiring and usually in a cloud of pastel-coloured bling that never downslides towards the terribly gaudy.This critique is directed towards their couture show as well.Kim and Delfina had their minds primarily on commerce, showcasing retail-friendly clothes. This brings in the coin, especially when it is pastel coloured, embellished with winding trellises, fashion into flowing and easy-breezy silhouette.Fendi wielded plenty of sartorial clout. It was pure unadulterated fashion, draped and tweaked into avant-garde silhouettes, eschewing generic neoprene tailored furs that are often passed off as ‘design’. There was easy, masterful layering at play, drapes upon drapes, merging into a single silhouette; pure silk and handloomed fabric in black and metallic moulded into jackets, capes, slinky one-shoulder full length sleek dresses and skirts. The Kim Jones signature is distinctive and, as always, the designer raised the bar. He merged the 1990s minimalist aesthetics with the statuary of ancient Rome.At the other end of the spectrum, the workmanship on Delfina’s jewellery pieces was meticulous. It was minimal, exquisitely made, effortless high fashion. “There is an emotional relationship that I have with the jewellery in the collection that I hope the women who will eventually wear it will have too,” says Delfina Delettrez Fendi, Artistic Director of Jewellery for FENDI. The distinctive diamond earrings, brooches and necklaces studded with pink spinels and yellow diamonds, skillfully incorporated tiny geometric plays on the Fendi logo. Some of the compositions felt almost sci-fi, as if you were looking at a digital screen. Despite their innate opulence, there was a lightness and subtlety to the designs and this is what makes it timeless.Individualistic, with restrained elegance, pushing boundaries rather than simply pandering to a bling-smitten mass mentality, a Kim Jones show invariably serves as an example of what a designer collection should be all about. It also exemplifies what a fashion event should be all about. Unfortunately, not every designer venturing on to the runway manages to understand this. In a world churning with embroidery, large voluminous silhouettes, glitter and over-designing, it was a breath of fresh air.
Demna showcased, and well he conquered – but that’s what he usually does, because he’s capable of upstaging the mantra of couture. He brought his collection taking inspiration from trompe l’oeil handcrafted techniques to imitate fur, using denim and a variety of silks to create structured silhouettes in primitive colours of black white, grey and popping neons.Such an epic stroke of his genius is exactly what you could expect of Demna for his arrival at Paris Haute Couture Fashion this season. Inside his show, hilarity broke out. Numbered looks, and every one of the models truthfully looking drop-dead gorgeous — sleek, chic gowns with severe sequin columns, outsize back tailoring, not taking the humongous jacket shoulders route but actually cutting wide funneled necklines into narrow women’s coats and jackets this season. Demna knows what fashion industry is thinking — and where he can go with it.Truth be told, silhouettes featured the cutting edge luxe ethereal evening gowns and exquisite capes that paid homage to Cristóbal Balenciaga with the underlining couture techniques. Even the windswept raincoats and mufflers caterwauled a perfect balance of couture and wearability. It was like exploring the border, quite border-lined.In Demna’s fashion multiverse, the collection featured gorgeous colour palette of dresses that redefined pulled-together-chic with a big bow as a cherry on top of a multi-layered cake — a very cohesive collection.The show that opened with the interpretation of the original Cristóbal Balenciaga design, worn by delicate Danielle Slavik, who originally modelled it for Balenciaga himself, connected the past and the present; and ended with Eliza Douglas, walking in a shining, chrome-laminated 3D printed bell-skirted suit of armor — futuristic in every sense and bone.Lots of movement here and there, a taffeta neckline vividly blown to one side, unbuttoned coats, and a deep-plunge corset and draped skirt wiped the runway off with its perfection. It was less runway, more drama, a mere performance, on every level, as we’ve come to expect from one of the few fashion designers in the world who most successfully commands attention.Apart from the yarns and yarns of silk and sequins running throughout the showcase, a leather jacket with voluminous colour and high waisted seamless boxer shorts did it for me! That was the winner. Minimal, and wearable right off the runway. Even with the dresses that screamed volume and couture — it was about owning a look. Remember, you need to innovate. It might be a long step too far for normal people, but that’s surely the point. There are extremists who will gladly follow anything Demna does. And will follow anything to create a statement.For the first time, Balenciaga Couture also offered sunglasses as part of the collection, starting with classic styles recast in precious materials and ending it with chunky frames of statement.One thing I’ve noticed about Demna is that he enhances the practicality of his dresses with the tiny hidden details that are flaunted on the runway as models sashay down the ramp. He pushes way to well the elegance trend with its easy structured designs, with sharp cuts and leave enough room to breathe easy in this dire summer or at a cocktail party. He always knows how to translate well to retail and if you intend making a statement, his pieces will make you stand out all right. There’s no faking it and if you don’t believe me, all you have to do is visit the Balenciaga store near you, and witness the instant crowds and crowds of fashion connoisseurs. This is fashion fetishism in real sense and it is thrilling to say the least.
The Maison Valentino is provided with an extra supply of energy coming from God knows where is a fact proved with ample evidence. On a day so hot, dropping its Valentino Escape 2023 made everything look so fresh and weightless.For Valentino Escape 2023 capsule, Maison have added new styles, fabrications, and silhouettes to the ever-growing collection. There are lots of covetable new propositions, versatile enough to cover different occasions and body types: prints and patterns that can go from the beach to the extremely happening party at the Hamptons, and hourglass-y sundresses with a Valentino monogram twist. And that’s not all. To embody the energy of the capsule, the Maison has envisioned immersive experiences across the globe, bringing invited guests on adventures that are far removed from the everyday.Valentino’s Instagram provides an account of the head-spinning schedule of collateral events they pulls off, but for Valentino Escape 2023 capsule, the Maison has gone a step ahead and has meshed enriching experiences with the collection that will both transport and inspire, melding alluring pastimes with of-the-moment adventures.For each Valentino Escape 2023 activation, the Maison has considered the local culture to create authentic and inspiring moments.In Ravello, on the Amalfi Coast, guests will be invited for a stay at Palazzo Avino, an awe-inspiring cliffside hotel that offers beachside allure and all the amenities that come along with it: dramatic pointed arches, pristine shells, cobblestone alleys and the healing properties of the Tyrrhenian Sea. To continue the experience and open the Escape collection to all, from June 9th, all visitors to the hotel will also be able to enjoy the capsule collection at a dedicated pop-up. During that same period, Valentino will also take over the hotel’s beach club, transforming the Club House by the Sea through a dreamy, Maison-inspired personalisation.Meanwhile, in France’s Saint-Tropez, those invited to the Escape 2023 experience will be driven through the area’s picturesque coastline, and into an exploration of contemporary art through an exclusive villa dinner and sculpture park tour.For guests in Forte Dei Marmi, the Maison has organised an escape into the world of art at Polish sculptor Igor Mitoraj’s Atelier in Pietrasanta.While in Greece, the island of Mykonos will be host to adventures shedding a light on the island’s beauty.Beyond Europe, the Valentino Escape 2023 capsule will take hold through special activations worldwide. In Dubai and the Hamptons, the Maison will curate one-of-a-kind experiences that delve into the joy of the season and the importance of relaxation.Whether at Dubai’s Atlantis The Royal Hotel or on the shores of the Hamptons, each destination will offer a way for guests to connect with the local environment while delving deeper into the capsule.Risk-taking is obviously included in such a journey, but Valentino seems to enjoy meeting the challenges head-on. And what’s more fearless than luring into Maison’s inner sanctum.For capsule, silhouettes have a clarity and purity that are only enhanced by contrast the poetic intensity of the prints based on Valentino’s iconic prints. Even the clashing-striped oversized shirt looks had a more streamlined energy to them. For now, Valentino is keen on keeping shapes, volumes, and decorations from overwhelming the personality of the wearer. Maximizing self-expressive potential through reworked classics is what Valentino after. And we can feel in every creation and collection. That said, it is not minimalistic in the least. It’s loud but with every good intention. Bisou Bisou!
Oliver Nakakande, a young digital creator, influencer, and supermodel from Uganda, is making a significant impact in the world of fashion and philanthropy. Born on July 4, Nakakande is a business management and marketing honors graduate from Middlesex University Dubai and is currently pursuing a Master of Science in Marketing Communications and Brand Management from the same institution.At the age of 24, Nakakande was crowned Miss Uganda 2019, and since then, she has represented Uganda on several global stages. She has performed in Dubai, New York, and Fashion Week DXB. Her signature smile and stunning looks have helped her amass a considerable social media following, where she shares her thoughts on fashion, beauty, and lifestyle.Apart from being a successful model and influencer, Oliver is also an active philanthropist. She runs the Oliver Nakakande Foundation, which supports young Ugandan girls by providing education and mentorship opportunities. Her work has been recognized by the Ugandan Government, and she was appointed as the Goodwill Ambassador for Girl Child Education.Despite her successes, Oliver remains grounded and committed to her vision of creating a better world for women and girls in Uganda. She uses her platform to speak out against gender-based violence, discrimination, and other issues affecting young women in her community.Oliver Nakakande is an epitome of hard work, dedication, and resilience. Her inspiring story serves as a testament to the power of pursuing one's dreams fearlessly and championing the causes that matter most to us.
Mohammed Albaker, a renowned Qatari jewellery designer, is expanding his artistic horizon by presenting his first-ever Haute Couture evening and bridal collections in an exclusive pop-up held at Fifty One East, Lagoona Mall.The launch event was attended by the designer himself alongside representatives from Fifty One East, fashion enthusiasts and media personnel.Albaker's journey in the world of Haute Couture extends from a long experience in fashion, jewellery and perfumes. His first experience in the fashion industry was with the famous artist, Assala Nasri, where she chose one of his designs as she appeared in one of the largest TV shows in the region.According to Albaker, the world of fashion is an extension of all forms of art. He explained, "Through my journey in the world of designing bridal tiaras, I found myself delving into the details and vision behind wedding dresses and the full look of the bride where I discussed and developed my ideas with many international designers."Albaker's passion for fashion is evident in his distinctive and clear imprint, which he leaves on the bride's outfit. He is influenced by the style of the forties and fifties to the late sixties, especially the prints of Christian Dior and Yves Saint Laurent, where the focus was on showcasing the woman herself, not what she wears. He explained, "Back then, simplicity in design was more prevalent than reliance on embroidery and glamor in fashion."Commenting on the pop-up, Albaker said: "I am thrilled to partner with Fifty One East for the launch of my first-ever Haute Couture evening and bridal collections. This pop-up provides a unique opportunity to showcase my creativity and passion for fashion. I am particularly delighted to share my designs with the Qatari brides where they can find what suits their style from the dress to the head ornament, bridal bouquet, and other details."The new collections showcase Albaker's creativity and unique approach with a vision to leave a distinguished mark in the world of fashion. The exclusive pop-up event will run until April 30 at Fifty One East, Lagoona Mall, first floor, giving fashion aficionados ample time to witness Albaker's artistic creations.
With just a few days to go until the fashion and beauty event of the season, Mall of Qatar’s House of Fashion in association with Harper’s Bazaar magazine has announced a stellar line-up for the leading annual event. Running from March 13 to March 15, the three-day celebration of fashion, beauty, and lifestyle, which showcases Mall of Qatar’s most exciting and luxury retailers across fashion, beauty, and home interiors, will feature some of the region’s best loved personalities and leading industry voices.The highly anticipated opening event, due to be held on Monday 13th at the Luxury Galleria at Mall of Qatar, will feature an in conversation with a selection of pioneering individuals playing a key role in Qatar’s burgeoning fashion scene including artist and designer Fahad Al Obaidly, Interior Design luminary Shaikha Al-Sulaiti, and fashion icon, entrepreneur, and former Harper’s Bazaar cover star Amal Ameen.As part of the Grand Opening event, Mall of Qatar’s House of Fashion is also thrilled to welcome the multi-talented Jessica Kahawaty. From ambassadorships with the world’s most luxury brands to significant humanitarian work, entrepreneur and international model Jessica Kahawaty is a truly multi-faceted woman and a leading light in the global fashion scene.Empowerment and stories of success will also take centre stage with conversations across Tuesday 14th and Wednesday 15th with a range of innovative individuals joining the line-up. From wellness trailblazer Jawaher Al Fardan and Milan Fashion Week alumnus Winonah de Jong, to beauty entrepreneur Najla Al Fardan, design talent Dana Al Saify, entrepreneur Husnaa Malik, and leading sustainability advocate Rina Saleh, we’ll be discussing their pioneering paths to the top.Open daily from 2.30pm, guests will also be able to visit Mall of Qatar’s House of Fashion at leisure and enjoy personalised styling with Harper’s Bazaar Senior Fashion Editor Nour Bou Ezz, who has styled some of the world’s biggest celebrities, and enjoy a range of activations and masterclasses from Mall of Qatar retailers.The engaging and immersive House of Fashion will be hosted in the Luxury Galleria of Mall of Qatar and will shine a spotlight on the latest Spring / Summer 2023 collections across the Mall’s retailers and showcase a series of catwalk shows. Inspired by the bustling streets, style, and flair of Italy, guests will be transported to the world’s greatest fashion capital. Walking through a floral archway, along an Italian-themed path, they will encounter the House of Fashion – an ode to an iconic Italian palazzo.With its bespoke design and luxe furnishings, the House of Fashion is the perfect space to showcase Mall of Qatar’s must-have styles, key new trends, and luxury offerings. Audiences will discover Mall of Qatar’s leading new retailers across womenswear, menswear, and homeware, including Fratelli Rossetti, Doucal’s, Pal Zileri, Tombolini, Hackett London, Pepe Jeans, Iceberg, Philipp Plein, Dolce & Gabbana Casa, and Luxury Living; as well as KIKO Milano and L'Occitane, The Trove, BoConcept, Marli New York, Messika, Prime London, Swarovski, Karl Lagerfeld, Michael Kors, Tory Burch, and Hugo. Guests can meet and mingle in the House’s Garden, chat over coffee in the Styling Suite, or sit back and be pampered in the Beauty Boudoir.For latest information, follow @mallofqatar and @harpersbazaarqatar.
French fashion label Chanel took to a darkened runway for creative director Virginie Viard’s fall-winter collection on Tuesday, showing a glamorous line-up infused with references to a key brand symbol, the camellia flower.The entire set was built around towering, white camellia sculptures that faced the audience, seated in steep risers ringing the space, a sprawling exhibition hall south of the Eiffel Tower.Projected onto the giant camellias were images of Nana Komatsu, styled to resemble the 1960s film character Polly Maggoo, with thick eyeliner and a sleek hairstyle that curled up at the bottom.The label's ubiquitous camellia appeared throughout the show, worked into the patterns of sweeping overcoats and dresses, rendered as stark white three-dimensional embellishments on all-black ensembles, and cropping up as a patch of black flowers adorning the collar of a slick black jacket.Most looks were black and white, paraded by models striding on shiny black platform boots, often with patterned white tights. Bermuda shorts and matching jackets, loose-legged jumpsuits and tweed ensembles were accessorized with the label’s signature jewelry – chained belts, earrings and swinging necklaces that sparkled down the runway.For the finale, the massive camellia sculptures suddenly glowed red, and slowly shifted between red and a bright pink as models rounded the room.The catwalk presentation was held on the final day of Paris Fashion Week, which drew crowds of celebrities to the French capital, and featured big-name labels including Hermes, Valentino, LVMH-owned (LVMH.PA) Dior and Louis Vuitton, Kering-owned (PRTP.PA) labels Saint Laurent and Balenciaga.
Louis Vuitton (LVMH.PA) took to the Musee d'Orsay for its fall-winter catwalk show on Monday, sending a modern lineup of playful, sculptural looks down a slick, black runway designed to evoke a Paris street.Exploring notions of French style, Nicolas Ghesquiere, artistic director of the label's womenswear collections, played with volumes of clothing and trompe l'oeil effects, including boots that looked like black high heel shoes worn with white socks and fuzzy coats resembling blazers.Other looks included bulky Bermuda shorts, wide bustier dresses cinched with thin belts and glittering beaded dresses.Handbags were varied, including one fashioned to look like a typical blue Paris street sign, trimmed in green - with "Louis Vuitton" stamped in white letters.At the end of the show, the sound of footsteps was projected through the space, giving the impression of invisible models walking down the runway - an effect drawn up by sound artist Nicolas Becker.Ghesquiere then trotted out, flashing a grin at the guests in the front row, who included film stars Emma Stone, Zendaya and Catherine Deneuve who sat alongside members of the family of LVMH's chairman and CEO, Bernard Arnault.Pharrell Williams, named artistic director of Louis Vuitton's menswear designs last month, also attended the show.Paris Fashion Week, which features big-name fashion labels including LVMH-owned Dior, Kering SA-owned (PRTP.PA) Saint Laurent, Valentino and Chanel, winds up on Tuesday.
HE Assistant Foreign Minister Lolwah bint Rashid Al Khater met on Tuesday with HE Minister of State for Development and Africa in the UK Foreign, Commonwealth and Development Office Andrew Mitchell, on the sidelines of the 5th UN Conference on the Least Developed Countries (LDC5), currently in session in Doha.The meeting discussed aspects of bilateral cooperation and ways of enhancing and promoting them, especially in aid and development, in addition to the latest developments in Afghanistan and the Horn of Africa.
French label Pierre Cardin returned to the official Paris fashion week schedule for the first time in decades, sending out a colorful, off-beat lineup of styles that recalled its space age heyday.Models paraded two-toned suit jackets with triangular shaped lapels, asymmetrical dresses and capes, shimmery gold trousers and thin ties that formed an arrow-like shape at the tip.Attendants flashed spotlights on models as they made their way down the temporary runway, set up in the label's empty flagship store that is undergoing renovations.Spinning holograms were projected in the windows of the store — located across the street from France's Elysee Palace — and one model carried the three-dimensional projection in a handbag.The late designer's great nephew, Rodrigo Basilicati Cardin, who took the reins of the label following Cardin's death in 2020, said he worked with the design studio to pare back the looks, which were made from recycled materials as well as fabric that sat in storage for decades.Seeking to spark interest in the label among younger crowds, Basilicati Cardin said he set up competitions to bring on talent from other countries, like Mexico and South Korea, for stints at the label."My goal is to manage the label and bring it on track," he said, speaking to journalists after the show as he greeted guests including French singer Mireille Mathieu.
Having fled war as a child, Georgian designer Demna made fashion a sort of battleground of provocative ideas at the helm of Balenciaga. It was tremendously successful — until it wasn't.The 41-year-old, who dropped his last name Gvasalia in 2021, returns to the catwalk at Paris Fashion Week on Sunday for the first time since his hot streak was brought to a screeching halt late last year by a spectacularly ill-considered publicity campaign.The ads featured children with teddy bear bags that had studs and harnesses — supposedly meant to evoke a punk aesthetic but looking a lot like bondage gear.It coincided with another ad campaign that included a strange background detail — a print-out of a US Supreme Court judgement about child abuse.Demna apologised profusely in the pages of Vogue, denying any intention to reference child abuse, but the damage was done, with a slump in fourth-quarter sales and criticism from celebrity friends such as Kim Kardashian.He vowed to drop the provocations."I have decided to go back to my roots in fashion as well as to the roots of Balenciaga, which is making quality clothes -- not making image or buzz," he told Vogue.- 'Unbridled creation' –It is an unexpected moment of contrition for a designer who was named among the world's 100 most influential people by Time less than a year ago.Demna is on thin ice: "We are allowed to make a mistake in a group like Kering," said the boss of Balenciaga's parent company, Francois-Henri Pinault. "We don't have the right to make two."He also barely escaped contagion from the controversies around his friend Kanye West, who opened Balenciaga's last show in Paris in September. The label cut ties with the rapper after his outbursts about Jews.Before then, Demna's playful and inventive campaigns had made Balenciaga one of the hottest brands around.A 2021 show saw guests arriving along a red carpet and then presented with a film of their entrance that revealed the models had been secretly mingling among them, wearing the new collection.One campaign was done in the style of a dystopian newscast; another playing with the tropes of reality TV.His daring designs included the head-to-toe black shrouds worn by Kardashian at the Met Gala in 2021."The unbridled creation has worked well but he will have to tame it down a little bit," said Arnaud Cadart, of fashion consultancy Flornoy Ferri.- Ugly luxury –It will be a tough reinvention, not least since one of Demna's tricks has been to turn the ugly into luxury, from his pimped-out Crocs to his notorious $1,500 garbage bags."Demna uses his radical approach to overturn stereotypes of what is normal and what is luxury," said Serge Carreira, a fashion expert at Sciences Po University in Paris.It is an approach that worked, attracting all kinds of stars from cerebral French actor Isabelle Huppert to brash US rapper Cardi B.There was a fascinating backstory, too.A year ago, Demna's Paris show fell just after Russia's invasion of Ukraine, recalling his traumatic departure from Georgia at the age of 12, forced to flee ethnic cleansing by pro-Russian separatists.The show saw under-dressed models walking out in an artificial snowstorm, carrying those infamous trash bags.Some found it distasteful but it was deeply felt.The invasion "triggered the pain of a past trauma I have carried in me since 1993, when the same thing happened in my country and I became a forever refugee", he said.Trained at the Beaux-Arts Royal Academy in Belgium, Demna worked for Maison Margiela and Louis Vuitton before creating his own label, Vetements, with his brother in 2014.He was named creative director at Balenciaga in 2015.For many years, his trauma affected his work but he told Vanity Fair in 2021 that counselling, meditation and exercise had helped exorcise some demons."Fashion used to feel like a battle for me. That is why there was a lot of aggression and darkness in what I did. Today I feel at peace with the system," he said.
Gianvito Rossi presents a new, audacious Fall-Winter collection defined by a mysterious sensuality. The designer plays with references from the punk and gothic worlds, elevating them to a new sophistication.Boots take center stage: knee-high or over the knee, these designs underline the subtle game of strength and sensuality that defines the entire collection.An audacious to-the-knee boot in black patent leather, with a high stiletto heel, opens the collection. Its clean, essential silhouette with a side zip-up detail reflects a vigorous force. Crafted in patent leather, platform pumps and striking d’Orsay pumps are enriched by countless front straps.To-the-knee boots with cut-out details express magnetic allure. The gladiator silhouette is instilled with a gothic twist: broad bands in black leather frame the leg in a captivating game for the eye, whilst a back zip goes up to thigh.A diamond cut-out pattern reveals the skin on the front, side and back of a sensual over-the-knee boot in supple suede. The definition of high elegance.In a nod to punk culture, a metallic chain detail, laid over the ankle, gives a new vigor to an outstanding over- the-knee boot in precious nappa, which envelops the leg in a fierce embrace. Its 10cm stiletto heel conveys a newfound strength to the overall silhouette.And finally, a Western-inspired boot with a lifted toe enriches the collection with a completely new silhouette, mirroring a strong individuality.
Dior designer Maria Grazia Chiuri dove into archives from the 1950s for the French fashion house’s fall women's catwalk show, adding a modern spin to the era's feminine mainstays.Models strode around a hulking, fantastical set parading familiar silhouettes – neat, short-sleeved button-up shirts paired with full skirts, bustier dresses, trim cardigans and cropped jackets – in somber colors and stylized floral prints.Chiuri softened structured jackets and drew on fabrics woven with metal thread to give a new, creased texture to classically-cut dresses -- pushing styles into a sporty direction, for daywear.Accessories including pearls, gloves and thick, black headbands, the tassles tied into bows.Chiuri sought to add a Parisian flair to the styles of the period, which are often associated with American Hollywood productions.“It was very different, the situation in Europe than in the USA,” she told Reuters, noting that the women who served as inspiration for the collection -- Christian Dior’s sister Catherine Dior and French singers Edith Piaf and Juliette Greco -- were rebuilding their lives following the Second World War.Moody organ music kicked off the show.Models wound around the space -- a tent in the Tuileries Gardens -- under a massive, hanging set, its bulbous tentacles embellished with hand-sewn crochet work, fringes, sequins and feathers.Portuguese artist Joana Vasconcelos described her work as an abstract flower, forming a “magical garden like another world, another dimension.”“It’s quite unique for the contemporary art world to have this connection to the fashion world,” she said, noting the show added intimacy to her monumental art.Held on the second day of Paris Fashion Week, the show drew crowds of fans angling for a glimpse of Kpop singer Jisoo and actress Charlize Theron, who sat in the front row next to members of LVMH CEO Bernard Arnault's family.
Givenchy creative director Matthew M. Williams focused on dresses at the French fashion house’s fall runway show at Paris Fashion Week on Thursday, sending out a line-up of long, slinky gowns that swept the runway.First he kicked off the show for the LVMH-owned (LVMH.PA) label with all-black, sharply-tailored outerwear – coats with sleeves that fell below the wrists and hemlines that reached the ankles.Models then paraded down the stark, white runway wearing gowns with plunging necklines and long slits, with just a few touches of bright colours – including sheer dresses in lime green, bright pink and lavender.The trademark embellishments - chains and extra buckles were relegated to the sidelines, leaving only the occasional belt lined with metal loops, some leg straps with buckles and a thick, gold handle on bright green clutch.Layered looks were less present than in previous seasons, though there were a few, mixing brown shearling and slick, black leather.While the models marched to a solemn, electronic beat in a temporary tent at the Ecole Militaire in central Paris, some of the guests were more flamboyant.Actor Jared Leto turned up in a shimmery gold top, with a huge, chunky gold chain around his neck, while singer Aya Nakamura wore the label’s signature Shark Lock boots in shiny silver, with a matching handbag.The show took place on the fourth day of Paris Fashion week, which runs through March 7, and features big name labels including Dior, Saint Laurent, Louis Vuitton Hermes and Chanel.
Saint Laurent designer Anthony Vaccarello drew his Paris Fashion Week audience into a dark, chandelier-lined runway Tuesday night, sending out a sensual lineup of night-club-ready eveningwear derived from office classics—blazers, pinstripes and pencil skirts.The show opened with a series of sharp-shouldered suit jackets – extra wide, double-breasted – worn over skimpy silk tops and slender, knee-skimming skirts.Models marched down a carpeted catwalk on spiky, pointy-toed sling-backs, some with scarves trailing behind, as the styles moved between airy, feminine pussy bow blouses and more assertive masculine styles, like hulking bomber jackets and long, tailored coats in red plaid.Aviator glasses and slicked-back hair styles completed the glamorous looks.The set, which included low-hanging bronze chandeliers, evoked the ballroom of the Intercontinental Hotel, the label’s favored venue for haute couture collections in the late 1970s through the start of the 2000 – but transported into a “radically contemporary black-box setting”, according to the label’s show notes.The temporary venue was set in the label’s traditional spot facing the Eiffel Tower, which glittered as the last guests streamed out after the show.The Kering-owned (PRTP.PA) label grew strongly last year, passing 3 billion euros ($3.2 billion) in sales, and the group plans to expand its retail network this year.
Giorgio Armani offered plenty of soft, fluid looks at his Milan Fashion Week show on Sunday as the veteran Italian designer presented the autumn/winter 2023 collection for his main, eponymous line.The 88-year-old, affectionately called "King Giorgio" in his home country, opened the show with beige and bronze creations - smooth long dresses and roomy trousers, loose macs and tops.Models wore silky pyjama-like shirts and trousers as well as dresses. Some designs were worn layered: elongated jackets or long dresses on top of trousers.Armani also used plenty of black, mixing it namely with pink for ensuing designs - day wear including velvet pinstripe suits and black jackets worn with shiny pink trousers, or black dresses with pink floral embroidery for the evening. Beaded belts or sequins added shine to black evening suits and frocks.Accessories included two-tone brogues as well as fringed shawls and berets with beaded fringes.