25 January 2013

After a beautiful presentation of Didit Hedprasetyo Couture this afternoon, I was back to Shangri La Hotel for the presentation of Oscar Carvallo couture at the evening. It was his first d├ębut in dazzling couture dramatic world, and what I expected from the first second I got the invitation, I was not disappointed y the collection. It's enticingly appealing. Tab here for the full shots of the exits. And scroll down to see how the show was going.

I was wondering what the black circle means, because there's no seating number and so on. On Didit, there's no seating number either, but I was informed that every body will be standing and the faster you get in, the fronter you will be. It was kinda surprise. And while the invitees were joying alcoholic flows, I was busy taking pictures of them.

And I almost drop my Proseco when I thought I saw John Galliano. If you know what I mean.

Well, of course it was not grande Galliano. I heard he's busy now in New York starting from scratch preparing for a collaboration with Oscar de la Renta. Which I think will result a hurricane. A huge flamboyance hurricane.

And when I say the collection (and the location!) didn’t disappoint me, it was because there's something unpleasant happened. The placement.

I got a veeerryyy bad angle, that I could hardly get the feet of those models when I took picture of them as they walked in. It was near the exits, and it's a turn. I could barely know the coming of the models (they're on runway which was not fully visible from my angle) from their shadows. Oh God it was terrible. And there was a tall guy next to me with hands longer than his body taking picture (with Blackberry!) like a teenager taking picture of Justin Bieber; putting the lens of the phone camera as close as possible to the object.

I had to pull out all of my limited photography skill to get the best shots, from standing in heels to squat, every possible move I could do. I wasn't even happy when a gurl taking picture of me during the show.

So, I thought this time was not a photography-related job. They placed me there because they wanted me to examine the core of the couture collections. The dresses. The fabric. How it falls. How it fits to the body. How it flows when you walk wearing them. So I stopped worrying about the placement and started squinting my eyes observing the dresses. And I think there's a benefit from that. I could be ore focused on the clothes, instead of whether I use the right speed and ISO. I didn't just attend the show. I experienced it.

The dresses suddenly gave me an imagination of a beautiful bob-haired mermaids, with pearls, plaids, shells, fish pattern of embroidery, all in rich colours of sea blue, sot creamy pink, coral white, and silver lining.

Ups. One of the angels dropped a piece of couture ply. ''Couture'', as a terminology which is used by a high skilled designers and the team, produces dresses that are entirely made by hand. Even though it doesn't hold the label of haute couture (one must be accredited and receive an appellation by Chambre Syndicale, with haute couture approval is given by French Minister of Industry), the couture dresses are made with the same level of intricacy and complications. The client must make an appointment to make an order, and visit the salons for measuring and fitting.


 Chanel bag is the victim when the seat is to narrow. Ouch!

I met one of the models when the show was over, outside the venue. It was beautiful because the hotel offers a spectacular view to Eiffel tower. Klik klik klik...

And the show gave me a little amusement just a second before I walk out. A Finnish designer (later I ran into him, continued to a 10-minute chat, telling me that his name is Merd) with a cool hair cut and studded headband.

So, was it all? Wait until the next few minutes when I reveal the backstage! I can tell it's as mesmerizing as the show!

Signorefandi, grazie mille, Signore Carvallo!