Dolce & Gabbana's Couture Project

[GIVENCHYlover]

I LOVE the menswear collection

 

[gazebo]

Im actually interested to see what that FROWer on the right was wearing Little drawings on her ball skirt?

She was wearing this from fall 15 RTW

style.com

 

[squilliam]

It's so garish! Couture doesn't necessarily mean you're allowed to use every embellishment under the sun.

It's the only way to make the same silhouettes the use every time loom different. They just change the prints and embellishments and call it a new collection

 

[mcmarket]

Interesting good to see them moving forward

 

[CATO]

Dolce & Gabbana Alta Moda 2015

Vogue Paris published the whole collection pics:

http://www.vogue.fr/defiles/defile/automne-hiver-2015-2016-paris-dolce-gabbana/14629

vogue.fr

 

[Littleathquakes]

any reason why these collections don't get their own threads?

 

[squilliam]

^probably because all the collections look about the same, and because they rarely release pics of the entire collection

Ok I admit some of the non sicily stuff looks good, but the rest is the same old over done repetitive stuff. It looks like the copied some old collections (there's a gold corset on a dress that looks similar to an old one of theirs), and they had so many different random inspirations, the collection was all over the place. The fur is out of place in a collection that's very summer looking. Also, the craftsmanship is a bit lacking, it's not bad but I've seen better from couture

 

[Illithid Dude]

Did anywhere publish photos of the complete men's collection?

 

[Nymphaea]

Dolce & Gabbana’s Alta Moda Collection Gets a Standing Ovation at La Scala in Milan

vogue

 

[Nymphaea]

continued...

vogue

 

[Nymphaea]

continued...

vogue

It was couture on an operatic scale—literally. Domenico Dolce and Stefano Gabbana took over the stage of La Scala Milan for a show about the heritage of Italian couture, and of their home city in particular, an exercise that soared like an aria to opulence, femininity, and the glorification of making excellent clothes. They found the threads of their narrative in two sources: one, the Puccini operas Tosca, Turandot, and Madame Butterfly, and the other, the work of the Milanese dressmaker Biki, a lover of big hats, who fitted aristocratic women of the city with the finery they wore to the opera, as well as their wardrobes of neat day suits. Maria Callas was a customer—and Biki herself was a granddaughter of Puccini. “So you’ll see both the singers and the audience in the collection,” Dolce promised in a preview at the atelier. To rush to the end: The story line—spectacle on the one hand, elegance on the other—worked so well that he and Gabbana were brought back to the stage three times by a standing ovation.

But to begin at the beginning: The social gathering in the foyer for the Dolce & Gabbana command performance surely couldn’t have been more glittering and dressed up than the entrance scenes made by guests in the ’50s, ’60s, and ’70s. At midday on Sunday morning, women were assembling in full-length evening gowns, trains, fur hats, sparkling hair ornaments, and, in at least two cases, crowns. En masse public sightings of couture clients as lavishly dressed as this are almost as rare as spotting a herd of unicorns in Paris—but here they all were, the high-net-worth individuals, wives and husbands, high rollers, heiresses, and mother-and-daughter pairs, the multigenerational international Dolce & Gabbana fan club magnetized to Milan from the United States, China, Russia, the Middle East, Britain, Germany, Switzerland, Taiwan, Singapore, and beyond. The day before, they’d seen the Alta Sartoria collection of bespoke clothes for men, a supersmart lure to couples to make a whole weekend of it, a nonstop round of lunches, parties, dancing, and fittings—and with Dolce & Gabbana the only show in town.

But this was the crescendo. The audience sat on gold chairs on the stage, with a full view of the gold and deep red velvet sweep of the auditorium. As the models walked up the aisle of the theater, in unhurried procession, there was a strange sense of both intimacy and high drama. In fashion terms, as always, the eye leapt straight to what it doesn’t ordinarily see, and that was the exceptional dressmaking in black: sculpted black hoods to begin with (something between Catholic mantillas and ’60s space-age couture); tailored skirtsuits with gold buttons on cuffs and flippy gored fishtail hemlines; then a cocktail dress draped to one shoulder; and yet more simple-yet-ineffably sophisticated silhouettes with silvery crystal shoulder straps or the illusion of ’30s-style clips at the waist. (There’s a lot of the languid ’30s beginning to filter through fashion, by the by.)

The unadorned things—like the deep green, swath-neckined silk velvet medieval-by-way-of-MGM-movie-star gown and the black velvet cocktail dress with balloon sleeves, with a flash of diamante set into the shoulders, kept recurring through the sequence. The menswear-inspired “opera-goers” in their impeccable black and white pantsuits arrived with swaggeringly mannish coats thrown over their shoulders. Heavily embroidered with patches of Baroque gold bullion military thread, the coats transpired to have been the work of the men’s Alta Sartoria experts—a transference of skills the designers have applied since a few female customers have been asking to buy from the bespoke men’s collection. What was remarkable was to see all these pieces—the relatively sober side of Dolce & Gabbana—holding their own throughout a show of 88 looks. Compared with the tulle crinolines; the sumptuous floor-length cloaks; the sequined turn-of-the-century A-line opera coats, beaded with the lettering from La Scala Puccini opera bills; the gilded lace pagoda-shoulder Madame Butterfly dress; the bevy of gleaming cocktail dresses pailletted with water lilies, irises, and lilies; and the surfeit of wondrous velvet and ormolu, emerald and ruby gemstones, the “simple” things were still never overshadowed.

Why was that? Probably because the designers believe in both sides of the Italian equation equally passionately—and, more important, they now have the person power in their three-story couture house to execute tailoring, dressmaking, and embroidery to the highest degree of accomplishment. It meant that each dress had its own singular character and its own halo of dignity about it.

Singularity is the thing about haute couture. Dolce and Gabbana said that only one of each outfit will be made—a message that meant that the customers in the audience had their fingers on the triggers of their phones, texting their dibs on the looks even before the music swelled to a close. It was, of course, a fantastical performance on every level, yet one underpinned by reality. Back in the workrooms, there is a large landing crowded with dress forms in all shapes and sizes—the mannequins made to the exact measurements of the women who order here. The house estimates that crowd has now reached 200. That itself is a huge accolade to the two men who began this enterprise as Milanese upstarts in the late ’80s. As they took their bows, wiping away tears, the thunderous applause was the measure of a career pinnacle, and brilliantly well-deserved.

For more:
http://www.vogue.co.uk/suzy-menkes/2016/01/suzy-at-alta-moda-dolce-and-gabbana
http://www.elleuk.com/fashion/insid...-moda-spring-summer-2016-pictures-information

 

[mikose]

full collection
http://www.vogue.fr/defiles/defile/haute-couture-printemps-t-2016-milan-dolce-gabbana/15943

 

[Sunnyinlondon]

Thanks Nymphaea and Mikose for the HQs and links. Much appreciated.

 

[Phuel]

Thanks mikose for the link.

A handful of looks are actually really really really solid. They instantly remind me of that perfect mix of classic 1950s couture opulence with that signature Dolce injection of decadence in all the jewelled, embellished and fur-wrapped richness. In particular the floral sequinned dresses in amazing techno-color, the plush lacy dresses, the furs in polka dots, and the tailored suitings are the stuff of Couture dreams. But pieces with the fashion illustrations, embroidered house crests and all the text turn the designs and the models into one of those human-billboards is pure vileness. These two just can’t help bring the tacky when they should learn some restraint. And 89 looks… Learn to edit...

 

[Spike413]

^ I was thinking the same thing. Yes, the details of that black and gold Turandot coat are beyond beautiful, but could they honestly not think of something more creative or at least more clever than literally taking the iconic opera poster and embroidering it in beads on an opera coat? Like c'mon. Dopey moves like that totally take away from the beauty of other pieces in the collection.

For better or for worse there's this sliiiiight whiff of Galliano's early Dior work to this -- nothing deliberate or overt -- but just enough to remind you that other designers have handled these sort of grand operatic gestures with more style. And hey, maybe it's just me, but the least they could do in a collection that either directly or indirectly references Callas would be to give the models that major Callas cat eye. Can't bring the drama without a dramatic eye.

 

[gazebo]

 

[fashionista-ta]

Thanks mikose for the link.

A handful of looks are actually really really really solid. They instantly remind me of that perfect mix of classic 1950s couture opulence with that signature Dolce injection of decadence in all the jewelled, embellished and fur-wrapped richness. In particular the floral sequinned dresses in amazing techno-color, the plush lacy dresses, the furs in polka dots, and the tailored suitings are the stuff of Couture dreams. But pieces with the fashion illustrations, embroidered house crests and all the text turn the designs and the models into one of those human-billboards is pure vileness. These two just can’t help bring the tacky when they should learn some restraint. And 89 looks… Learn to edit...

They're only making one piece per, so if they edited, they'd be cutting into revenues.

 

[CATO]

Bravo!!! very good job guys, well done
so many adorable pieces in that collection - love it

 

[Phuel]

They're only making one piece per, so if they edited, they'd be cutting into revenues.

Oh OK (I should really read the article…). I suppose they get to set up their own rules since they’re not a part of Paris Haute Couture brigade.

The craftsmanship of the embroideries and embellishments are really old-world stunning— so I guess it’ll only be one lucky wearer that gets to look like Lumiere from Disney’s Beauty and the Beast LOL

 

[anlabe32]

Well this is stunning! I'm a sucker for Renaissance fashion.

I particularly love the green velvet dress.