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25-01-2011
  136
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xPedro's Avatar
 
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This and Dior HC S/S 07 were the best oriental inspired couture collections ever, IMO!

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25-01-2011
  137
Alluring
 
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Thanks for those!

All these sequin details are so delicious

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25-01-2011
  138
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I think the collection is beautiful, costumey or not. I'm also not feeling the hats, but it's part of the presentation, not that they're planning to see people walking down the streets in it. I think Tisci is sticking by his guns of what worked for Givenchy last year, couture wise, because apparently their couture business went up a significant percentage last year. In the end, it's commerce.

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Last edited by MulletProof; 25-01-2011 at 09:31 PM. Reason: do not discuss models here, please.
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25-01-2011
  139
scenester
 
Join Date: Jun 2008
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the back detail in neon colors is totally a modern twist to couture

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25-01-2011
  140
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love love love. especially the 5th and 6th, and 7th dresses on fei fei sun and liu wen
I could have done without the headpieces though
but all-together a really great presentation

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25-01-2011
  141
windowshopping
 
Join Date: Dec 2010
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This one does not differ much from the previous season's, save the embellishments. And even the embellishments are not creative. It is too early in this designer's career to be stuck.

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25-01-2011
  142
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now THIS is couture! I love it. The color combo with the neon is so amazing!

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25-01-2011
  143
fashion icon
 
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Quote:
Originally Posted by Littleathquakes View Post
I guess this is fascinating for the Western culture, but if you're Asian and grew up around lacquered wood furniture embellished with mother of pearl crane and swan and phoenix motifs, this comes off as cliched and borders on costumey (although that top honor goes to Maison Martin Margiela HC so far...).

I mean I know HC can be changed and tailored to suit the client, but even then you got an evening gown with some birds on it.
indeed

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25-01-2011
  144
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love the dress in du juan ,amazing

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25-01-2011
  145
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f*****g stunning!
i cant get enough of those colors too, and i usually hate green and yellow...

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25-01-2011
  146
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Please don't forget the casting for this show and individual model talk belongs in the Supporting Cast area. Further mentions or discussion of models will either be removed or edited at moderators' discretion and may result in warnings/reminders.

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25-01-2011
  147
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the details are dreamy.
while the hat is to dramatic.

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25-01-2011
  148
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Join Date: Nov 2005
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I saw some of this collection from the front and went 'Ooh.'. Then I saw it from the back and went 'wooheugh'. WTF is with the half Red Indian look at the very far left, then the hats?

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Last edited by Womanolo; 25-01-2011 at 10:10 PM.
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25-01-2011
  149
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The hats are interesting...I can't help but think of Japanese cartoon?

If we took them aside, you'd see this as an extension of his last couture collection a lot more fluidly. They are rather distracting, but necessary in that manner.

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25-01-2011
  150
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Leave it to Tim Blanks to tell it like it is.
Quote:
The last time Riccardo Tisci showed a couture collection for Givenchy, the zipper pulls were bones. This season, they were wings. Fashion's favorite goth took flight with a new obsession: Japan. Not the land of obis and geishas, he said, but the Japan of robot toys and the dancer Kazuo Ohno, whose intensely ritualized style of performance, called Butoh, was a huge influence on Tisci's friend, the singer Antony Hegarty. When Ohno died, Antony and the Johnsons performed a tribute concert that so inspired Tisci, the dead man became a sort of muse for the designer. And this was the result. According to Tisci, Ohno provided the romance, the melancholy, and the palette (the color of dried flowers). Robots, meanwhile, influenced the appliqués, the shoes, and the huge hats by Philip Treacy (couple this with Armani last night, and Treacy is clearly the go-to guy for sci-fi headgear).

The detail was as crazily consuming as last season's. One outfit required 2,000 hours of cutting and 4,000 hours of sewing. A single pair of trousers had 90 meters of plissé. On this scale, appreciation of the clothes as they solemnly rotated from hangers in a reverentially hushed salon on the Place Vendôme became an almost academic exercise, like examining works of art in a gallery. Maybe not such a bad analogy, given the extraordinary appliqué on a bolero that crossed a robot's face with a Catholic cross, or the organza that was laser-cut and appliquéd on layers of chiffon and tulle to create a three-dimensional spread of vermilion wings. One gown featured a Japanese crane, again appliquéd, that rose phoenixlike from a cloud of feathers. Massive bird's wings were folded across a sheer skirt. The Swarovski crystals and pearls that were crusted on the bodice of another dress began to pop like fish eyes as the dress moved.

The craft was undeniable, though in the end, like Ohno's favorite dried flowers, the clothes lacked some of the rude life that Tisci stuffed into his recent menswear collection.
(style.com)

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