Giorgio Armani Privé Haute Couture S/S 2025 Paris

[fruitdots]

There's so much here that is intuitively out of line with my taste, and yet it doesn't matter. Every single look is constructed immaculately, nothing looks overburdened or heavy or encrusted (and not for a lack of embellishment). This is by far the best show of the season—there's a level of conviction and commitment that never lapses into self-regard or showmanship. It's divine, and yet quite sad because it's hard to imagine a designer having the freedom to develop like this now.

 

[Phuel]

Guilty as charged! I am a 90s b.itch!

I have this image of you having discovered Ms Peregrine’s capabilities to create a time loop that’s forever 1997 and you’re forever 21— only venturing out of that sanctuary briefly to (hate)post on TFS since there’s no 5G and dialup sucks in 1997.

I’d love to venture to a timeloop circa 1977 and visit it from time to time, especially having watched Angelina’s Maria a few times already. Nevermind Angelina just plays herself. Nevermind she is as unconvincing, even distracting, and hilariously miscast as Maria Callas. The visuals are hardcore dropdead gorgeous: Cinematography, art direction, costume design— like Franca’s Vogue when Meisel shoots a 60pg story with a huge production of pure couture, and budget to match. Forget Angelina, just drink in the visuals in all its 1977-tinged Parisian splendour and glamour. A few viewing isn’t enough to absorb how Franca’s Vogue Italia the visuals are. Proudly style over substance for sure. And more than anything, a testament to the glories of the 1970s aesthetic.

Anyway, I’ve always adored that the best of Armani’s presentations and campaigns casts unknowns. Top models and celebs would be a huge distraction to his sensibilities, and frankly, ruin his vision. And this casting is absurdly supreme: A certain beauty, almost of another time and place but altogether unshakeably modern, fit for his sensibility. Perhaps they're all an eternal tribute to his muse Lee Radziwill.

 

[vogue22]

Franca’s Vogue when Meisel shoots a 60pg story with a huge production of pure couture, and budget to match.

Which issue was this?