Sophia Loren sat down next to Jared Leto at the center of the VIP section, wearing a red crystal-embroidered dress engineered over her still-impressive curves. Just down the row was little Chloë Moretz, wearing a cloudy gray chiffon top, also sparkling with crystals. Who knows how deliberately these things are orchestrated, but by coincidence or not, they were about to watch an Armani Privé collection entitled 'D’une Boîte Laquée' for fall which was entirely in black, white, and red. “Three basic colors, tone on tone,” Mr. Armani said.
The first third explored Armani’s tailoring short swing coats, sometimes over shorts, a pantsuit with a geometric bell cut into the sleeves, and jackets with fluted peplums. Flashes of strong lacquer red (an echo of Armani’s abiding love of Asia) built through the collection until it was fully out there in long evening dresses of the sleekness that endears so many movie stars to Mr. Armani.
Still, he wasn’t in the mood for sticking to the predictable straight and narrow this season. There was a distinct aura of whimsy or call it dottiness about the way he started to whip up meters of tulle into skirts as densely frilled as pom-poms, and add headdresses and net veils smothered with red or black polka dots. Part playful, part a nod to a classic trope of fifties haute couture imagery, the veiling eventually grew to cover one or two models, and their dresses, entirely. When the finale dressed appeared including a black dress with multiple white dots under a black-and-white spotted veil the model looked as if she’d been caught up in a snowstorm on a winter’s night. In a nice way.
Discover the ARMANI Privé Haute Couture show at the end of this post! LoL, Andrea
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: VOGUE
Photos by Kevin Tachman & Kim Weston Arnold (IndigitalImages)
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The fashion proceedings, which you see here, were centered on two of Giorgio Armani’s career-long themes: his interest in Asian cultures, filtered through his deep love of early black-and-white movies. Both influences were apparent in almost everything he showed. Pale gray and navy-tinted looks, starting with plissé pants paired with cropped jackets embroidered with abstract peacock-feather motifs gleaned, perhaps, from sari fabrics, moved into passages of paisley-patterned materials.
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If Hussein Chalayan has one thing to prove to the world at this point in a career that has helped define fashion's outer limits, it's that he can do glamour. For his new Demi-Couture collection for Vionnet, the models had starlet hair, swept to one side.
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