looks precious and couture
haha, poor thing
looks precious and couture
Notice I didn't say anything about those who have said that they don't like the clothes, or find them tacky, or ugly or whatever, because clearly taste is subjective. I did however criticize people the people who are going on about this not being "Ungaro" because frankly that's not entirely true. You may not like those elements like the feathers, beads and flower prints but they most certainly are in keeping with what Emanuel Ungaro himself designed for years.
And my last statement was simply my opinion. Am I not free to express my disbelief that anyone could think this collection worse than one which featured heart shaped pasties in place of tops and clothes that looked cheaply made?
Seriously. I'm looking at this and wondering if half the people commenting even know what Ungaro was when Emanuel was still there, because to me this is pretty damn Ungaro-esque, though done in a more restrained way. All of the Ungaro hallmarks are present; draping, lace, print, color, an overall girlish attitude. It's really not a bad start.
How anyone could accuse this of being worse than the positively insulting Ungaro collection shown one year ago is beyond my comprehension.
To me, Ungaro is about this type of drape/ruched tailoring and these types of colours and prints, seen here in a well-published perfume ad and an older Ungaro collection, further below Archs' versions, which I don't think are great but aren't "un-Ungaro" (what a tongue twister) either. Images from Grazia, UK and Style.com.
This Spring is right up Ungaro alley, so to speak, with the vibrant pinks, fuschias, colourful prints, florals, softer drapes, etc., on many, many runways. I just don't get the pompoms, marabou, beads and lingerie.
style.comPARIS, October 4, 2010
By Tim Blanks
In the chaos and confusion of Giles Deacon's debut presentation for Emanuel Ungaro today, the harried fashion flock might have missed the point of the centerpiece, which was a marvelous manifesto for the label's new regime. It featured a pileup of VWs buried under Ungaro's signature daisies, and twisted minds construed it as a sly comment on Lindsay "Herbie Fully Loaded" Lohan's tenure at the house, which has most commonly been written off as a car crash. Out with the new-old, in with the old-new: That was the signal being sent.
One of Deacon's most winning characteristics is his ardent fandom. As a fashion babe in arms, he was drawn to Emanuel's aesthetic, so there was instinct at work in his repurposing of Ungaro codes like the lace, the color, and, most of all, the drape. "Vivaciousness, flirtatiousness, Frenchness," he said, reeling off his aims, while models moved around him. Models? Claudia Mason, Georgina Grenville, Shirley Mallmann, and, most of all, Kirsten Owen in a huge feathered headdress were a few of the fabulous faces he'd rounded up from his fanboy memory, and they, in turn, could all remember walking in shows when Emanuel himself was still at work. "Too classic," one said when asked for her recollections of the clothes back then, but now Deacon's version felt just about right for her.
Maybe all it took was the passage of time. Ungaro's clothes were heavily favored by socialites in the original Age of Excess, and Deacon accurately snared the glitter in a jacket-and-hot-pants set woven by Lesage, or a lace jacket and skirt encrusted with appliquéd flowers. When it came to a more modern girl, he offered Lurex-striped knits, or a dress made up of a flapper fringe of daisy cutouts. Mason sported a tiny black lace sheath dotted with navy blue daisies; Owen's dress was also a sheath, op arty. You could picture the professional party girls in them already, and on that level, the collection was a TKO. But where other women fit into the new Ungaro equation will be the challenge Deacon has to deal with in the months to come.
[emphasis mine]Ungaro Couture Spring 2000 Ready-to-Wear
PARIS, October 6, 1999
By Armand Limnander
"Love to love you, baby" was the soundtrack for most of Ungaro's wildly extravagant ode to the late '70s and early '80s, and it couldn't have been more appropriate. The runway felt like a flashback to Studio 54—glamour girls dancing and slithering onstage in ruffled one-shoulder crepe dresses, airy georgette polka-dot tops and animal-print jerseys in acid colors. Not to mention the parade of nearly fluorescent fuchsia, orange and green disco slips, jungle motifs and extravagantly beaded ensembles. It was a rich, indulgent presentation that felt curiously appropriate in a season that has been continuously hinting at the pleasures of excess. One couldn't help but scan the audience for a sighting of Ivana Trump, and what a thrill to find her seated in the front row! There's no doubt about it—at Ungaro, flash is back, flash is good and flash is cool.