Another shake-up, another change, and yet, beauty remains.
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| Photos Courtesy of The House of Schiaparelli |
The Théâtre d'Elsa, an imaginary stage - a sketch of theater in Paris in the '30s, the feature and figure of Schiaparelli was shining with full of sensuality. Filled with vintage relics such as phones and gaming machines, it was clear that the aura of Schiaparelli was very thick. At the beginning it could be seen how the simple lines and vertical silhouette defined elegance and combined femininity with strength. Masculine tweed, tartan patterned material, culottes, and a jacket were worn over dresses that gave resonance which was so well controlled.
Then quickly, shocking pink, Elsa's favorite colour, luminously chimed black, white and other muted colors. Luxurious materials were decorated with vibrant and contrast embroidery, applied with savoir faire in haute couture, revealing superiority. Classic sophistication piece of haute couture was translated so perfectly it felt relevant and so desirable. With the introduction of a biker jacket brocade and "rodophane", as well as a boxy tops crocodile leather, and also some evening dresses that were so exceptional, it appeared to me that Bertrand Guyon did a good job. A skirt inspired by the work of Christian Berard intersected this collection to the art world, as Elsa used to do with Dalí. Valentino's Pier Paolo Piccioli and Maria Grazia Chiuri who sat in the front row, witnessed their former apprentice' first design for Schiaparelli, seemed to agree with a nod and smile throughout the show.
Elsa's obsession over image of cupid-shot heart, padlock, and Ursa Major star constellation, as well as her initials ES, was like the sun which gave new life. A genesis of the fashion tour de force so promising it was.
For complete runway photos and my review in Bahasa Indonesia, check out Style.com Indonesia.
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