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Viktor&Rolf Haute Couture A/W 2015-2016 Collection – The Art of Fashion!

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Viktor&Rolf Haute Couture A/W 2015-2016 Collection- the Art of Fashion.
Dutch duo Viktor Horsting and Rolf Snoeren tried to put the question to rest by wrapping their latest couture creations in giant picture frames and blank canvasses — an ingenious, creative and hilarious idea.
The bespectacled designers stood at the foot of the white, sanitized catwalk holding squashed white-framed canvass shapes crushed into abstract, often A-line, skirts. A model would appear, wearing nothing but a plain loose indigo minidress, and get „framed“ by the designers, who fitted her into the skirt.
Beyond getting fashionistas chuckling, they produced some very thought-provoking looks — like a jagged trapeze shape with one arm out and the other arm’s hand jutting wonkily up like a cubist work of art.
Then blue and other colors were splashed on the canvasses, which developed gilded, gold frames.
The show was a work of art. The Art of Haute Couture Creations!  With their Show Viktor&Rolf answerd Couture’s most existential question- Fashion sould, must! be considered Art! A wearble Art, the Art to wear, independent of Collections, i mean Haute Couture is a Art and also prét-a´-porter collections are a wearble Art!
But now we are speaking about the most important Fashion Events of the Year, exactly about Haute Couture Week.
Let us enjoy  Viktor&Rolf Haute Couture autumn/winter 2015-2016 Show!

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Jean Paul Gaultier Haute Couture A/W 2015-2016 – *Gaultier goes Breton*

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Jean Paul Gaultier Haute Couture A/W 2015 -2016 Collection inspired  by Breton.
Bagpipe music, dark lighting, and sailor inspired looks all debuted at the new Jean Paul Gaultier Fall/Winter 2015 couture collection in homage to Bretagne, a region in France still full of tradition.
Stunning art forms with intricate details from top to bottom with huge ball gowns, Anna Cleveland debuted the final wedding gown and it certainly deserved around of applause. Gaultier and Cleveland danced down the runway hand and hand to the song „In The Navy“ by Village People.
The Breton stripe, as worn by sailors, has become synonymous with Jean Paul Gaultier over the years.
So Wednesday’s fall-winter couture collection – inspired by the French region of Brittany – seemed like a wholly natural place for the French designer.
The results were more theatre than couture. But the exuberant couturier produced a highly infectious presentation, replete with an entire traditional Breton orchestra performing bagpipes on the runway, crepe-makers handing out delights and one model marching theatrically down in a giant patchwork couture explosion with a tube wig that had one guest weeping with laughter.
The collection saw lashings of Breton stripes, in blue and white tights, sheer black velvet blouses – and traditional lace Breton tube hats in exaggerated heights.
The Celtic Circle defined many of the silhouettes – appearing as giant circle skirts often embroidered in traditional patterns – and one gold show-stopper with black feather fringing.
Stunning art forms with intricate details from top to bottom with huge ball gowns, Anna Cleveland debuted the final wedding gown and it certainly deserved around of applause. Gaultier and Cleveland danced down the runway hand and hand to the song „In The Navy“ by Village People.
In the front row :
Catherine Deneuve applauded enthusiastically from the front row alongside American actress Michelle Rodriguez.
„I’ve loved Gaultier since I was in my twenties,“ Rodriguez told The Associated Press. „He’s just got always that edge, you know? He’s like an artist and he’s never scared.“

Maison Margiela Haute Couture A/W 2015-2016 Artisanal Artistry ccollection designed by John Galliano – Paris Haute Couture Week

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John Galliano’s first Parisian Margiela  Show!The Show which all Fashion world has been attending !
The cast of Alice In Wonderland from Margiela, by John Galliano. Great, is a Haute Couture! John Galliano can do anything, his creations are unique! And he did it – John Galliano mixed his own eccentric style with that of Maison Margiela to come up with a masterwork of innovative and unique fashions.
Galliano is a genius: who could ever think of wearing a gray male suit as a brave mini, moreover with green amorphous adding of fabric right in front? Then comes the match of a suit as a top for a green skirt, which the model rocks with hair gathered back so tight that she seemed bald from the front. However, these greens were only a preheat move: here comes the green wrap! Yes, the dress on the girl makes her look like she is wrapped under the thick bundle of layers, though she seems to like it.
The balance should be kept: after the wrap outfit there goes the nicest coatdress imaginable! The color, collar, lotus shaped bottom make us fall for this gorgeous simplicity. The following idiomatic garments gave fresh ideas to those, who want to have a mixed emerging of fairytale, eccentricity and style. The ideas of Galliano do not seem to be lacking to the smallest extent. Who, on earth, could imagine that burlap sack will make a fine fabric for a chick outfit? Impressionist pictures are made into fine shirts matched with skinny skirts, though we are in two minds about the electric blue top.
Galliano surfed the world to hand his much-needed materials – mud silk lining from China, tapestry from France, raffia from Madagascar and, undoubtedly, tweeds from Britain – to create these masterpieces. The show kicked off with total black numbers. The public immediately felt for those pieces that covered 70% skin and looked so elegant. At first sight, these might seem simple but then you see the masterful handwork of detail – asymmetrical sleeves, skirts, double pocket lines on one side and a single one on the other, half-torn fabrics and unimaginable necklines mostly at the back. Then followed a unique coat-like dress composed of a thick grey sweater with leather accessory, and a strange skirt, which was simply tied at the top with a thin black belt. Messy this might sound, but the look is quite nice and unusual with its best connotation
Maybe this is a key point for the whole Maison Margiela Couture fall 2015 collection: the color appears in details on every other model – crazy eye makeup, even half-painted face, lips and a turban.
As the line closes to the end, the characters coming out become increasingly more mind-blowing. Paint covers half dress and half the model, another comes out in a sliced dress with hair half gathered tightly and half made into a messy ban. A net dress follows her with wholly clipped head (of course covered in those). At the very end arrives time most anticipated by all “Lady Gagas” – marieé steps on the catwalk in a wedding gown made from plastic bag trompe l’oeil tulle as a veil. This was a real shock! Galliano script shines at its best.
The accessories and footwear adding to the chic of the Maison Margiela Couture fall 2015 fashion line corresponded to the atmosphere of chic with hundred and ten percent. Shoes with half-circled mirror heels, though a little difficult to walk on, completed the crazy characters perfectly. The makeup artists and hair designers created fully conforming looks – netlike eyes, large buns, wigs of varying colors in the form of huge flowers alongside natural, almost bare faces and classic bobs and waves.

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Armani Privé Haute Couture A/W 2015 -2016 Collection – Giorgio Armani expressed his creativity through his gorgeous design!

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Armani Privé Haute Couture A/W 2015 -2016 Collection – Giorgio Armani  expressed his creativity through his gorgeous design!
Paris Haute Couture Week, 7 July 2015.
Giorgio Armani decided to view his Fall/Winter 2015 haute couture Armani Privé through rose colored glasses. Actually, let’s make that shocking pink glasses, as the Italian designer proposed a collection that was all about neon tinged afterhours colors and textural transformations.
All of the sartorial hallmarks the world has come to know and respect from Armani were apparent on his catwalk. The perfectionist tailoring, the bold jewelry, the shimmering eveningwear, a healthy dose of velvet, a fair share of feathers, and some serious statement hairdos.
But as Naomi Watts, Clive Owens, and Emmanuelle Béart looked on, it was the impressive play of vibrant colors deftly muted or exploited by the designer that was the novelty of the night. Many of the looks, from a sharp shouldered blazer in a degrade of silk Lurex and a full speckled jacquard skirt to a shaded silk buster dress or one in tiers of gauze, shot through with an assortment of colorful shimmering wool, explored a sophisticated color play.
Watching the collection unfold, it was almost as if Armani had captured the undulating beauty of neon lights from a dance club reflected in the inky black puddles on a rain slicked asphalt. Their harsh reality softened by the designer into something elegant and just a tad louche.
The other major story of the collection was the textural nature of almost every outfit. Shaded feather, fringing, or three-dimensional beading made the ensemble more tangible and tactile.
Combined with the rich color palette, the clothing in this couture collection was, to say the least, impressive.

  “I wanted to express my creativity!”said Giorgio Armani  during a preview of his Armani Privé collection. 

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Giambattista Valli Haute Couture A/W 2015-2016 Collection – *Flower Obsession Ball*

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Giambattista Valli Haute Couture Autumn/Winter 2015-2016 Collection – *Flower Obsession Ball* at the Opéra Garnier.
Celebrating ten years in the business, Giambattista Valli ended the night with an extravagant „Flower Obsession Ball“ at the Opéra Garnier, complete with a floral dress code, colorful blooms projected onto every surface, and a brand new set of M.A.C. lipsticks in hues inspired by the pinks of his haute couture. But before that, the designer’s 9th haute couture was par for the course. Flowers and colors are what women want from Valli, and that’s what they got, to a point.
Clinical neons above the runway gave the black-and-white triangles of striped carpeting a very dizzying Op Art glare. The opening looks were like ruffled spores, sculpted hemispheres clinging to hems or to the backs of models. Soon enough, they blossomed out into the breadth of his glamorous silhouettes. Lean pairings of long tunics over slightly flared pants kept things more Slim Aarons than Flower Power, proposing a more grown-up notion. Short shifts had a bit of kick to them, showing enough leg to satisfy the younger Valli girls. Not that it would matter, but there were even embellished „t-shirts“ hiding under honeycomb embroideries and other ruffles.
The pure lines of his designs, with a vaguely Sixties flavor to them, gave plenty of space – and fabric – to elaborate surface adornments. Although the flower motif, that habitual Valli signature, was everywhere, his blooms this season were not always of the natural variety. Glass flowers and raised embroideries of vines crawled up available surfaces. Crisp looking petals stuck out. Even the printed lilies-of-the-valley were artistically digitized. Likewise the color palette – you could see where the lilac and orange had come from. Black and white threw yellow and green in stark contrast. It was the future of flora, seen through the crystal-adorned round lenses of retro-modernity. For all the twinkling, sparkling, shimmering (all those giant silver rhodoids, beads and crystals, marabout trims), it was as slick as a glossy picture, more ritzy than romantic.
By the time the show came to its ball gowns, the closing group, their lengthy flurries of tulle ruffles trailing behind them, looked almost blowsy from their effort of being in full bloom, an effort as intensive as the energy required to drag that much tulle down the carpeted runway. Perhaps the length of the runway diluted their effervescence somewhat, but from the applause, there was still plenty of fizz to go around.

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