Two Italians fired broadsides at Parisian couture for the spring season. Pierpaolo Piccoli’s first solo collection for Valentino takes a line of such purity and apparent effortlessness that modern couture no longer seems an impossible dream. With casual hair, little make-up and flat sandals, the models stride through life, their beauty enhanced by daringly simple, long pleated dresses or white trouser suits in appliquéd lace.
Donatella Versace’s static display of seventeen extraordinary outfits focuses on craftwork helping to define body-caressing shapes -knotted skeins of crystal or chain mail, undulating clouds of pleated tulle and cascades of hand-set, dip-dyed ostrich feathers – the grandest modern red carpet dressing. And Iris van Herpen is a modernist who knows no other way, based on scientific alchemy, her fabrics create gravity-defying sculpture dresses.
For the rest, contemporaneity is a learning curve. Timeless in intention, couture often looks backwards to go forwards. Maria Grazia Chiuri, Piccoli’s erstwhile design partner now in charge for Dior, brings a gorgeous softness to tailored daywear and spectacular but relaxed evening gowns. Daywear stars also in Schiaparelli’s symbol-appliqued trousers suits, capes and maxi-dresses, Chanel haute bourgeois, generously curved tweeds, Gaultier’s louche Parisian tuxedos and Giambattista Valli’s cocktail-bound silk tunics.
For night, the big dress is the surprise return, from 1950s-style in pastel satin and silver sequins at Chanel, tiny embroidered lace flowers at Valli or bouffant orange tulle at Armani Prive and Zuhair Murad. Not exactly modern but always a winner.
