That long-awaited Haute Couture Fashion Week finally kick-started in Paris on January 24, at 9:00 p.m., with haute-couture-connoisseur Versace selected for the grandiose opening of the event with the Atelier Versace Couture spring/summer 2016 collection. This means one thing – bidding adieu to everything casual, street-style and ready-to-wear and stepping into the xanadu of opulence and luxury, intricate cutouts and handworked detailing, materials used going more and more ravishing, and the embellishments going more and more glittering and sophisticated.
In case of fashion diva Donatella Versace at the helm things take a more deluxe and well-to-do spin, leading us to the never-never land of sky-high slits, bias cuts and plunging necklines every time going deeper and deeper and more and more red-carpet-worthy (the Academy Awards is just around the corner). As it could be naturally expected, the front row was jam-packed with the profile figures of the fashion world among them being the most prominent fashion designers of our times – Alexander Wang, Riccardo Tisci and Anthony Vaccarello, while British singer Rita Ora was sitting there decked into an Atelier Versace vibrant orange mini dress with chaotic ropes wrapping it.
The forever-blonde diva has noted that the elaboration and engineering of this collection is fairly to be called the most time-consuming and laborious of all the previously devised lineups. While fall 2015 couture was putting the accent on more romantic and ethereal features of the female essence, and the spring 2015 couture was trying “to go back to the shape of a woman’s body which is curvy”, the Atelier Versace Couture spring 2016 collection is literally throwing us in the vertiginous current of femininity and dynamism, demonstrating the very pieces to beget utmost strength within us to overcome all obstacles, whether psychological or belonging to the outside world.
The opening of the show is an overt deviation from couture arena suggesting a couple of white pieces with neon yellow and orange stripes on them, thus emanating some sporty and casual touches. The continuation of the show was a gradual liquidation of sporty stripes and obstinate preservation of that palatial white theme. The strong skirt suit Natasha Poly was presenting all covered with multiple floral cutouts and tiny sporty yellow details at both sides of torso was the last drop in that sense, giving way to typical-of-Versace geometrical cleavages, deep diagonal slits opening the whole leg up to the thigh, sheer fabrics and mesh pieces taking over the provoker roles, flash peeping out so effectively, while heaps of gowns presenting optical illusion prints.
Behati Prinsloo makes everyone’s head spin by her grandiose appearance in an all-white wrap gown, the hems flaring, the side slit and plunging neckline as if with no intention to end ever, while one side of the dress exhibiting a sample of optical illusion. Optical illusion techniques keep on heading the cast with a blue super-short shorts suit, which is paired with a diaphanous black flock worn over it. We are bowled over by those chaotic twisted straps in yellow, orange and blue looking so mind-blowing in the background of black, equally are we flabbergasted by the black diaphanous pieces with abstract patterns on them like that intricate one hugging amazing Irina Shayk’s body.
But what mostly captures our attention and makes us rank Donatella Versace as someone whose imagination reaches epic proportions is the range of those closing Swarovski ropes that are either wrapping the mini cutout dresses and pantsuits or else demonstrating realistic connecting links between fabric pieces, unbinding of which is a taboo. The show closes drop-dead gorgeous Gigi Hadid, who has recently been chosen as the face of Versace, donning an all-black pantsuit with cutout details here and there that are crisscrossed by those innovative Swarovski ropes a la Versace.
Photos courtesy of Vogue