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Valentino Le Salon Haute Couture Spring 2024 is a perfect convergence of love and passion for the art of haute couture. Pierpaolo, with an adept touch, skillfully upholds Mr. Garavani’s legacy.
The collection reflects a profound dialogue, not only in meticulously crafted garments but also in the seamless continuation of the brand’s commitment to the essence of couture, embodying a perfect fusion of tradition and contemporary elegance.
Jean Paul Gaultier spring haute couture by Simone Rocha
Le details 🤍
“Schiaparalien”
Schiaparelli Haute Couture Spring 2024 - Details
📷: Vogue Runway
Have you heard that dreams serve as muse? Well for Rahul Mishra dreams do serve as the ethereal muse that breathes life into artistic creations. Rahul Mishra’s bespoke masterpiece for Supermodel Gigi Hadid, envisioned as a fantastical rendition of a Himalayan spring, exemplifies this synergy between dreams and inspirations.
Every meticulous detail, from threads to beads and sequins, encapsulates the essence of Rahul’s firsthand encounter with the mystical Himalayan landscape. The embroidery, a labor-intensive endeavor spanning over 2400 human hours, brings forth a breathtaking panorama through Arr embroidery—a form of hand-controlled micro-needlework, delicately orchestrated with silk threads.
This wearable art done through interwoven locks of Arr embroidery transcended its aesthetic appeal, becoming a testament to the transformative power of dreams. It exemplifies how the intangible threads of imagination, when woven into reality, can inspire and elevate our daily lives. In each stitch, there lies not just an exquisite garment but a profound reminder that dreams, when translated into art, have the potential to be a perpetual source of inspiration, echoing the beauty of our aspirations in every moment.
What are your thoughts on this couture look?
Lotus Room, City Palace, Udaipur 🪷
Panna Meena ka Kund,, Jaipur, Rajasthan
📷: Pinterest
Actress Carey Mulligan graced the 2024 Golden Globe Awards in a bespoke Haute Couture ensemble by for , meticulously recreating an original design by Elsa Schiaparelli from the Fall/Winter 1949-1950 collection.
The gown showcases a unique décolletage, diagonally shaped and halved, featuring strapless brassiere cups adorned with diamonds. The right side gracefully transitions into black silk faille fabric, forming the outer bustier and the lower section of the skirt. The pleating is artfully executed, evoking the imagery of lobsters gathered around the lower legs and gracefully extending towards the pelvis.
A gateway to the secret garden 🪴
Deeppura Garh, a 200-year-old haveli in Rajasthan
restored by Italian designer Maria Grazia Baldan!
📷: Ashish Sahi for
Legendary Diana Ross for Saint Laurent Spring 24!
for by
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Nestled within Deeppura Garh, a 200-year-old fortified residence, lies a hidden gem – a secret garden meticulously restored by Italian designer Maria Grazia Baldan in collaboration with Belgian architect Philippe de Villegas. This enchanting space, once on the brink of ruin, now stands as a testament to their combined vision and dedication.
Baldan’s intervention not only saved Deeppura Garh from decay but transformed it into a haven where time seems to stand still. The secret garden, a manifestation of their creative partnership, unfolds as a sanctuary within the historical walls. With each step, visitors traverse through the passage of centuries, witnessing the seamless fusion of Baldan’s design sensibility and Villegas’ architectural prowess.
This revitalized oasis, concealed within the ancient fortifications, invites exploration into the intersection of history and contemporary design. Maria Grazia Baldan’s and Philippe de Villegas’ collaborative efforts have breathed new life into Deeppura Garh, leaving behind a legacy where the whispers of the past harmonize with the elegance of modern rejuvenation in this remarkable secret garden.
📷: Ashish Sahi for
Muslim Lady Reclining.; Francesco Renaldi; c. 1789; Yale Centre for British Art
Francesco Renaldi’s late eighteenth-century painting, “Muslim Lady Reclining,” unveils the secluded world of aristocratic women in Dhaka. Presumed to be the wife of an English merchant, the young lady is portrayed in a state of repose on carpet within her bibikhana (women’s quarters). Renaldi’s meticulous brush-strokes capture the opulence of her attire—a white peshwaz made with the fine Dhaka muslin that her lavish attire with gold brocade, adorned with orange and green motifs, complemented by a rose-colored dupatta (veil). Resting against an ornate bolster, she holds a ho**ah and a jewel, surrounded by paan-daan (cruets for a betel-nut digestive). The painting offers a glimpse into her luxurious life, with gold jewelry, anklets, finger and toe rings, and matching jutis (shoes) contributing to her refined image. The setting, indicated by shadows from a louvred window, suggests a late afternoon scene shielded from tropical heat, portraying the leisurely life of noblewomen bound by the historical purdah system.
During the eighteenth century, European artists like Renaldi began depicting bibis, Indian wives or mistresses of British officers. Historically confined by purdah, noblewomen’s lives were rarely visually documented before this era. Renaldi, having worked extensively in India, provides rare insights through portraits like “Muslim Lady Reclining,” offering a voyeuristic yet idealized perspective of the luxurious lifestyles led by a small segment of Indian society. These portraits become valuable windows into a historical context where such lives were seldom captured visually.
In the mesmerizing world of Umar Sayeed’s couture, a garment ceases to be a mere fabric; it transforms into a conduit for metamorphosis, unveiling a captivating journey of self-discovery. A couture wearer can be anything or may be everything?
Monsieur Sayeed orchestrates an introspective symphony, compelling couture enthusiasts to confront their unique individuality. In this immersive experience, a particular jacket blossoms into a symbol reminiscent of life itself—like vibrant flowers—a powerful agent of transformation.
Sayeed’s visionary craftsmanship breathes life into meticulously crafted garments, such as the jacket I proudly wear. It’s not just about linen fabric or the exclusive raw silk inner lining—rarely seen in couture—that Sayeed employs; it’s about transcending the ordinary. The intricate dance of French knots intertwining with knotty trellis patterns transforms a garment into a masterpiece. Woven with intention and artistry, it possesses the enchanting ability to metamorphose the wearer into a celestial being, blurring the boundaries between the earthly and the divine.
The colors of Thar 💓
📷 via
Highlights of my fashion year ❤️
This moment I always cherish when j got to wear my dream couturier !
And to all of other brands who send me clothes and think I am adding value to their business, means alot! 🙏
Issey Miyake and Irving Penn’s collaboration forms a captivating fusion of fashion and photography, transcending conventional imagery. Miyake’s avant-garde designs, known for their innovation, seamlessly intertwine with Penn’s lens to create a profound visual narrative.
Penn’s meticulous photography captures not just clothing but the very essence of Miyake’s creations. Their collaboration goes beyond a standard fashion photoshoot; it’s an artistic exploration of texture, form, and the dynamic interplay of movement. Each photograph becomes a timeless masterpiece, showcasing the symbiotic relationship between Penn’s minimalist style and Miyake’s avant-garde vision.
This visual dialogue is an embodiment of creativity and experimentation, where Penn’s precision complements Miyake’s unconventional designs. Together, they weave a narrative that resonates with the harmony between the fluidity of fashion and the artistry of photography, leaving an enduring legacy that continues to inspire both realms.
.irving.penn.foundation
Pierre Cardin, a legendary figure in the fashion world, was not just a designer but a visionary who revolutionized the industry. Born in Italy in 1922, Cardin’s influence extended far beyond the realm of fashion. He once said, “The clothes I prefer are the ones I design for a woman who does not exist yet—the woman of the future, who will be young, sophisticated, and cosmopolitan.”
Cardin was known for his avant-garde approach, seamlessly blending fashion with futuristic elements. His design identity reflected geometric shapes, bold lines, and innovative use of materials. His futuristic vision extended to a wide range of products, including accessories, furniture, and even automobiles. Cardin’s designs were a testament to his belief that fashion should not be limited to the runway but should permeate every aspect of life.
One of his notable quotes encapsulates his design philosophy: “I have always worked in my own style, which is different from all others, and I am not concerned with creating a school.” This individualistic approach set him apart, and his impact on the fashion landscape is immeasurable.
Throughout his illustrious career, Cardin received numerous accolades and pioneered the concept of licensing in fashion, a strategy that allowed his brand to reach global heights. His designs, often described as architectural and sculptural, showcased a blend of art and fashion, making a lasting mark on the industry.
In remembering Pierre Cardin, we honor not just a designer but a creative force who reshaped the boundaries of fashion, leaving an indelible legacy for generations to come.
The utilization of zardozi on blood-red velvet, infused with elements reminiscent of the Mughal era, emerges as a distinctive and opulent technique within the domain of bridal couture, particularly attributed to the creative prowess of the house of Kamiar Rokni. Zardozi, an intricate and traditional form of metal embroidery, is elevated to new heights when meticulously applied to the rich texture of blood-red velvet, creating a visual symphony of texture, color, and historical resonance.
This age-old embroidery technique, Zardozi, involves the elaborate hand-stitching of metallic threads, often gold or silver, along with the incorporation of precious stones, pearls, and intricate beadwork. In the context of this blood-red velvet, this technique assumes a heightened drama, as the plush fabric provides an indulgent backdrop for the intricate interplay of metallic embellishments.
The infusion of elements inspired by the Mughal era adds a historical and cultural depth to the design. Borrowing from the grandeur and exquisite craftsmanship of Mughal times, the zardozi on blood-red velvet not only serves as a nod to the rich heritage but also evokes a sense of regality and timeless elegance.
I happen to find this motif on one of the bridal couture garment. The juxtaposition of the deep, symbolic red against the glimmering zardozi creates a striking visual contrast, symbolizing love, passion, and the opulence associated with grand celebrations.
Tis the Season for Red Haute Couture, Xoxo Xmas 🎄
1- Christian Dior Fall/Winter 1957-58 Haute Couture
2- Christian Lacroix Haute Couture Fall-Winter 1987
3- Chanel Spring 1989 Haute Couture
4- Chanel Haute couture fall 1992
5- Valentino Fall 1996 Haute Couture
6- Stephen Jones ‘Contours’ collection, Autumn/Winter 1996.
7- Yves Saint Laurent haute couture printemps / été 1997.
8- Valentino Fall 2012 Haute Couture
9- Zac Posen Spring 2014 Ready-to-Wear
10- Valentino Fall 2022 Haute couture
Following a journey to India, Lee McQueen devoted extensive months of rigorous effort in his studio to formulate his fall 2008 Ready-to-Wear (RTW) collection, wherein images of Queen Victoria, the Duke of Wellington, and the Indian Empire permeated his creative contemplation. The collection featured uncut diamond chokers adorned with Victorian polki sets, as well as uncut diamonds with kundan settings and minakari nestled amid locks and saharas. Notably, the headpieces (matha patti) evidenced the enduring British fascination with the Indian subcontinent, as exemplified by the British Museum and the British monarch’s crown embellished with Indian jewels.
Nevertheless, the British proved incapable of authentically replicating or producing intricate jewelry on par with indigenous artisans, whose hands endured mutilation and crafts faced prohibition during the British Raj. While the collection may serve as a wellspring of inspiration, its manifestation remains inherently diluted in comparison to the artistic richness of the Indian subcontinent. Contrary to Vogue’s assertion that “It was a day when his brilliance had never shone more brightly,” a nuanced perspective posits that the occasion marked the British designer’s lensing of India through a colonial lense.
On this solemn anniversary of Franca Sozzani’s passing, we honor a visionary force who transformed the fashion industry. As Vogue Italia’s editor-in-chief from 1988 until 2016, Franca broke traditional norms, infusing fashion with a groundbreaking perspective.
Her iconic “Black Issue” in 2008 celebrated diversity, challenging industry norms. Collaborating with legendary photographers such as Steven Meisel and Bruce Weber, Franca’s Vogue Italia became a stage for societal conversations, transcending glossy pages.
Beyond fashion, Franca used Vogue Italia for environmental and social advocacy, addressing global issues like the Gulf of Mexico oil spill. Her collaboration with influential photographers continued, including a daring exploration of surgical operations, pushing societal boundaries.
Franca’s legacy extends to mental health awareness within the industry. Her impactful advocacy, collaborating with photographers like Peter Lindbergh, fostered compassion in the often cutthroat world of fashion.
As we commemorate Franca’s departure, she remains a trailblazer, shaping fashion’s discourse through her enduring influence, collaboration with iconic photographers, and commitment to creativity, diversity, and societal progress.
In the delicate balance of fashion garments, the interplay between new-age innovations and the timeless threads of tradition unfolds a narrative of sartorial continuity. Designer Kamiar Rokni, , the son of Cholistan desert, with a discerning eye for the heritage woven into the fabric of style, presents an haute couture garment on tissue silk that serves as a bridge between eras. This exquisite piece features European chintz patterns, meticulously rendered in resham, subtly embellished with a touch of zardozi, kamdani, and Arr ka kaam, each thread weaving a story that traverses generations.
The choice of tissue silk as the canvas for this sartorial masterpiece is a nod to the delicate legacy of craftsmanship that spans ages. European chintz patterns, reminiscent of an era steeped in elegance, breathe new life onto the fabric. Resham threads, with their inherent richness, trace the contours of these patterns, adding depth and texture to the narrative. Zardozi, a timeless embroidery technique that has adorned royalty for centuries, meets kamdani’s delicate artistry, creating a symphony of intricate detailing that pays homage to the skilled artisans who have passed down their expertise through the ages.
Arr ka kaam, a craft rooted in tradition, is skillfully incorporated, adding layers of significance to the garment. In embracing what the designer dubs as his “soft haute couture era,” Kamiar Rokni orchestrates a harmonious fusion of nostalgia and contemporary flair. The garment becomes a vessel that transcends time, a manifestation of modern haute couture that pays homage to the craftsmanship of yesteryears.
Madhubala, the ethereal enchantress of Indian cinema, transcends the realms of mortal beauty, her visage a celestial manifestation on the earthly canvas. As if touched by the divine hand, she graced the silver screen with an allure so extraordinary, it remains unparalleled through the annals of time. An angel incarnate, she walked among us, bestowing upon the world a vision of beauty so exquisite that it resonates through the corridors of legend and time.
In the timeless echoes of her cinematic legacy, Madhubala emerges as an icon, her beauty transcending mere aesthetics to become a symbol of divine grace. The 1951 Life magazine photos, captured by the lens of the venerable James Burke, unveil a revelation of her celestial allure in white cotton saree and silk blouse. Each frame encapsulates the essence of an era, where Madhubala’s radiance shines like a beacon, guiding admirers through the enchanting labyrinth of her beauty.
Her laughter and eyes, reminiscent of galaxies, held within them the mysteries of countless stardust, reflecting a universe of emotions that captivated hearts and souls. Her smile, a bewitching crescent, wove tales of joy and melancholy alike, leaving an indelible mark on the collective memory of admirers.
Even in the stark monochrome of the 1951 photographs, Madhubala’s beauty remains vivid, untouched by the passage of time. The delicate play of light and shadow accentuates the contours of her angelic features, casting a luminous glow upon her countenance. The ethereal charm encapsulated in these timeless images ensures her perpetual reign as the standard-bearer of beauty.
Madhubala, an immortal muse, transcends the boundaries of mere mortal comparison. Her allure, frozen in the sepia tones of history, continues to defy the conventional constraints of beauty standards. In the tapestry of Indian cinema, she remains an enduring celestial presence, an embodiment of grace and beauty that elevates her to the realm of an eternal icon.
The above photograph shows Umar Sayeed’s transcendent embroidery that unveils a symphony of artistry and finesse, weaving a narrative inspired by the poetic allure of grapevines. This opulent masterpiece, adorned upon the delicate canvas of silk crepe fabric, is an ode to the meticulous craftsmanship that elevates fashion to a world of pure aesthetic splendor.
The embroidery, resplendent in a vibrant and empowered pink palette, breathes life into the classical grapevine motif. Every branch and leaf is meticulously rendered, creating a tableau of intricate detailing that dances across the fabric. Trellis knots, delicately woven into the design, imbue a three-dimensional enchantment, offering a tactile journey through the organic tapestry of the garment.
As the embroidery gracefully extends to the lateral sides, a bewitching a network (jaal) emerges, a lyrical dance of intertwining threads providing not only visual harmony but also a structural cradle for the celestial sitara elements. Like stars adorning the night sky, these embellishments cascade with ethereal grace, contributing to the garment’s celestial allure.
Umar Sayeed’s creation, bathed in the resplendent powered pink hue, is a testament to the confluence of traditional artistry and contemporary elegance. Each stitch, a lyrical expression of the divine, transforms the grapevine into a haute couture sonnet, capturing the essence of nature’s beauty within the folds of this sartorial masterpiece. This embroidered garment, a living ode to the botanical muse, stands as an iridescent testament to the boundless creativity and regal artistry that define Umar Sayeed’s singular design ethos.
Abu Jani and Sandeep Khosla, recognized as revivalist of the ancient Indian subcontinent craft of Chikankari, have reintroduced this intricate form of embroidery into bridal couture, marking a departure after several decades. Chikankari, renowned for its delicacy and intricacy, originated in Lucknow and has deep historical ties to traditional Awadh craftsmanship, commonly worn as traditional attire by regional nobility.
The journey of Abu Jani and Sandeep Khosla with Chikankari commenced during their visit to Lucknow in 1992, with the official launch of their collection taking place in 1994.
Expressing their commitment to elevating Chikankari to the realm of haute couture, Abu Sandeep envisioned restoring it to its Mughal glory and advancing it to an unparalleled level of finesse suitable for runway presentations, red carpet events, and weddings. They aimed to make it the epitome and zenith of couture by emphasizing the purity of white-on-white embroidery, the intricacy of stitches and jaalis, and the historical significance of Chikan as the preferred attire of nobility.
The journey was marked by collaborations with prominent personalities, with Bollywood celebrities such as Dimple Kapadia, Jaya Bachchan, and fashion icon Parmeshwar Godrej becoming early clients, shaping the narrative of Chikankari in the world of couture. Notably, Shweta Bachchan became Abu Sandeep’s first Chikankari bride, wearing their creation to her Mehndi ceremony in 1997, setting a trend that would follow.
Chikankari, characterized by delicate hand-embroidered patterns on fabric, typically employs white thread on pastel-colored backgrounds. The designs feature floral motifs, paisleys, and intricate geometric patterns, encapsulating the richness of this traditional craft in the contemporary world of high fashion.
📷 1-2: The above pictures from Nita Mukesh Ambani Cultural Center features 24 PANEL, 22 METRE HAND-EMBROIDERED CHIKANRARI ANARKALi
COTTON, COTTON THREAD, with HAND- WOVEN CROCHET LACE on hemline. The ensemble dates back to 1993.
This summer evening dress boasts a structured petticoat, meticulously crafted to reflect attention to detail even in the undergarments. The off-white gown features exquisite hand-couched embroidery with a hint of angalis botdrie and organza accents.
The second image also showcases a sketch from the Pierre Balmain SS 1956 Haute Couture collection. © Balmain Heritage.
Pierre Balmain (1914-82) inaugurated his couture maison in 1945. Having previously apprenticed alongside Christian Dior at Lucien Lelong’s couture house, Balmain emerged as one of his generation’s most triumphant couturiers. By 1956, his house employed 600 skilled artisans, including 12 couture workrooms and in-house fur and millinery ateliers.
Ralph Rucci’s Sartorial Elegance Unveiled: A Glimpse into 2001
This beguiling jacket, a testament to Chado Ralph Rucci’s unparalleled taste and couture craftsmanship, graces the pages of his opulent tome, “The Art of Weightlessness.”
Delving into the details, this particular piece unfolds as a resplendent white cotton jacket from circa 2001, now adorning the hallowed halls of the Museum at FIT, bestowed by the gracious Mrs. William McCormick (Deeda Blair).
This meticulous work of art unveils a tapestry of intricate details, boasting three distinct knot stitches that defy replication, providing a rare opportunity to possess a truly unique creation. The jacket’s central motif, contrary to the initial photo’s suggestion, reveals a seamlessly sewn white piece between the button and buttonhole, bestowing upon it a consummately refined finish.
The jacket’s pièce de résistance lies in its knotty Trellis line, meticulously crafted through rows of coral knot stitches interwoven with crisscrossing chain stitches. The subsequent rows delicately capture the bars between the knots in the row above, eschewing the conventional embrace of the ground fabric. Executed alternately left to right, starting proximally and distally, and then right to left, this intricate fabric emerges, resembling a distinct diagonal basketweave and spinal cord with vertebrae in the back giving the illusion of human body dermatomes (spinal cord nerve distribution of human body) —a true marvel of sartorial artistry.
Shalom Harlow, a formidable icon of the fashion world, exudes a fierce allure reminiscent of a Chambertin Grand Cru – intoxicating and refined. Her walk mirrors a butterfly’s graceful flutter through a French chateau, each step leaving an indelible mark on the fashion world.
With a beauty that transcends time, she captivates with a sensuality that echoes in every gaze.
Growing up, she navigated the ordinary with an extraordinary spirit, transforming life’s simplicity into a canvas for her future allure. From the quaint streets of Oshawa to the grand runways of fashion capitals, Shalom Harlow’s journey mirrors a metamorphosis, evolving from a small-town girl into a global icon, all while carrying the authenticity of her upbringing in every step she takes.
Shalom Harlow isn’t just a model; she’s a force, taking the fashion realm by storm, making an enduring statement that leaves everyone breathless, gasping for more of her magnetic charm. She’s not just here; she’s here to stay, a timeless icon in the ever-evolving land of style.
Couture soirée extends warm wishes to Mademoiselle Shalom Harlow on her birthday!
“A dress is not something you put on. It’s a kind of expression of your feelings, your way of life, and your own personality.“ said Madame Grès, born Germaine Émilie Krebs, a celebrated French couturier renowned for her sculptural draping and timeless elegance, articulated the profound notion that attire transcends mere clothing, serving as a manifestation of emotions, lifestyle, and individual personality. In 1932, Grès established her inaugural couture fashion house, La Maison Alix, persisting in her craft until her retirement in the late 1980s.
Revered as the “Sphinx of Fashion,” Grès, aspiring to be a sculptor, utilized couture garments as her artistic medium, with couture clients embodying her sculptural creations. Her resolute declaration, “I have chosen to be a couturier, and I will not produce fashion. I will create a style,” encapsulates her commitment to establishing a distinctive sartorial identity.
Recognized for her iconic floor-length draped Grecian goddess gowns, Grès earned acclaim as the “master of the wrapped and draped dress” and the “queen of drapery.” Her minimalist draping techniques and profound regard for the female form have left an enduring impact on haute couture and the broader fashion industry. This influence is discernible in the work of contemporary designers such as Haider Ackermann, as well as in the enduring couture creations of esteemed houses like Valentino.
November 28, 1973 : The Battle of Versailles, a historic fashion showdown, pitted American designers against their French counterparts. The Battle of Versailles was organized by American fashion publicist Eleanor Lambert as a fundraiser for the restoration of the Palace of Versailles.
The American Designers lineup included Oscar de la Renta, Halston, Stephen Burrows, Anne Klein, and Bill Blass.
While French Designers included celebrated haute couturiers like Yves Saint Laurent, Hubert de Givenchy, Pierre Cardin, Emanuel Ungaro, and Marc Bohan of Christian Dior.
The event marked a turning point as American designers, including Oscar de la Renta and Halston, showcased their innovative designs, challenging the traditional dominance of French couture and forever altering the landscape of the fashion industry. The guests included prominent figures such as Princess Grace of Monaco, Andy Warhol, and Liza Minnelli.
Liza Minnelli’s performance at the event added a dazzling touch, captivating the audience with her charismatic singing and dancing, contributing to the overall spectacle that showcased the prowess of American fashion on an international stage.
Photo credits : Vogue wrote: “Halston’s pale green sequined evening dress with short butterfly sleeves; Bill Blass’s grey sequined evening dress bordered in sable; Oscar de la Renta’s bright green charmeuse evening pyjama; Anne Klein’s red silk jersey evening dress; Stephen Burrows’s red sequined evening dress with a yellow feathered jacket.” Photographed by Helmut Newton, Vogue, December 1973
Dana Thomas asks” How are you going to die?”
Michèle Lamy says “Violently”
She says Dirty, Dirty, Dirty
Dirty Magazine says , Michèle Lamy is dead.
Lamy - a cultural reset in Paris, where youth is considered as “beauty” she said, beauty is I, and I is the only thing that matters. Muse and wife to Rick Owens, she co-created the perfect world of avant garde fashion where only elite taste of fashion exists. It’s not for the faints of the heart. In a world where avant garde is thrown around like the word “chic”, she is the living and breathing and walking (literally and metaphorically) epitome of what avant garde fashion can be.
In the end she says Dirty, Dirty, Dirty, and we say Mother, Mother and Mother… and to you readers surprise, death is the only beginning to the infinite journey of life…..
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