eternitygoddess
Active Member
- Joined
- Jun 30, 2004
- Messages
- 7,915
- Reaction score
- 29
I like those two.
The red dior would be nicer if the ruffles werent' so bunched up.
-
Live Streaming... The S/S 2026 Fashion Shows
New York Fashion Week S/S 2026 Show Schedule -
MODERATOR'S NOTE: Please can all of theFashionSpot's forum members remind themselves of the Forum Rules. Thank you.
The Most Beautiful Dress You've Ever Seen...
- Thread starter ignitioned32
- Start date
I like those two.
The red dior would be nicer if the ruffles werent' so bunched up.
irresistable_loz
Member
- Joined
- Aug 1, 2005
- Messages
- 314
- Reaction score
- 0
i remember seeing the versace dress and thinking i'd looove to have that for my wedding (maybe with a little more fabric however 
).. then of course Tom's final collection for Gucci.. I love most of the white gowns from that, so simple but goorrgeouss 
Versace F/W 06 - Gucci F/W 04
style.com
).. then of course Tom's final collection for Gucci.. I love most of the white gowns from that, so simple but goorrgeouss
Versace F/W 06 - Gucci F/W 04
style.com
Last edited by a moderator:
mistress_f
Hell on Heels
- Joined
- May 27, 2007
- Messages
- 7,239
- Reaction score
- 374
irresistable_loz
Member
- Joined
- Aug 1, 2005
- Messages
- 314
- Reaction score
- 0
a couple of others i 
(style.com)
S/S 04 - Dolce and Gabbana
But my favourite one of all...
f/w 03 - Dolce & Gabbana
not so good on the runway, but the pic i have in editorial of it is stunning
(style.com)
S/S 04 - Dolce and Gabbana
But my favourite one of all...
f/w 03 - Dolce & Gabbana
not so good on the runway, but the pic i have in editorial of it is stunning
mistress_f
Hell on Heels
- Joined
- May 27, 2007
- Messages
- 7,239
- Reaction score
- 374
BaroqueRockstar
Active Member
- Joined
- Dec 29, 2005
- Messages
- 4,073
- Reaction score
- 1
fabulyss (i wanted that pink rochas dress for my wedding dress for the longest time), sohoxchic (i miss helmut), stereotypeA (givenchy!!) great choices!
that mcqueen dress seems a little too similar to olivier's fall dresses for nina ricci... anyone else think?
that mcqueen dress seems a little too similar to olivier's fall dresses for nina ricci... anyone else think?
Luxx
oh me, oh my
- Joined
- Aug 7, 2005
- Messages
- 7,284
- Reaction score
- 37
This is such a lovely topic!
A few of my favorites. Its sort of blatantly obvious who my favorite designers are.
1. Chanel | 2. Viktor & Rolf | 3. Hermes | 4. Chanel | 5. Chanel
6. Chanel | 7. Givenchy | 8. Nina Ricci | 9. Rochas | 10. Oliver Theyskens
Image Credit | Bwgreyscale, Foto_Decadent, HerFamedGoodLooks
A few of my favorites. Its sort of blatantly obvious who my favorite designers are.
1. Chanel | 2. Viktor & Rolf | 3. Hermes | 4. Chanel | 5. Chanel
6. Chanel | 7. Givenchy | 8. Nina Ricci | 9. Rochas | 10. Oliver Theyskens
Image Credit | Bwgreyscale, Foto_Decadent, HerFamedGoodLooks
BaroqueRockstar
Active Member
- Joined
- Dec 29, 2005
- Messages
- 4,073
- Reaction score
- 1
dior_couture1245
Fat Karl
- Joined
- Jan 30, 2006
- Messages
- 9,225
- Reaction score
- 4,763
Givenchy Haute Couture SS 07 had such magnificant dresses
style.com
style.com
Last edited by a moderator:
beautifulboi
Member
- Joined
- Aug 11, 2005
- Messages
- 36
- Reaction score
- 0
I am absolutely in love with that black dress ,its one of the most beautiful things i have ever seen.This is the Galliano i love !!!!! sometimes he is a little "out there" for my tastes but this dress is just magic
Last edited by a moderator:
... From www.wireimage.com
Rodarte Fall 2007
Rodarte Fall 2007
Attachments
StyleIsInUs
Member
- Joined
- Apr 24, 2005
- Messages
- 758
- Reaction score
- 0
Not most beautiful, but I love this one :
Dior HC fw 2005
http://www.***************/image/2005/0707200513064438.jpg
elle.com
Dior HC fw 2005
http://www.***************/image/2005/0707200513064438.jpg
elle.com
Last edited by a moderator:
Avant Garde
Active Member
- Joined
- Sep 7, 2005
- Messages
- 1,337
- Reaction score
- 2
Alexander McQueen Oyster Dress
Spring/Summer 2003
Shredded ivory silk chiffon and tiered silk organza
British designer Alexander McQueen has been hailed for his challenging perceptions of the role of fashion in political, social, and cultural criticism. His collections are often cohesive thematic interpretations, alluding to dramatic media events (the "Highland r*pe," a 1996 runway consortium of tattered dresses and bloody catwalkers) as much as aesthetic or artistic movements. Credited alongside peers such as John Galliano with the return of artistry to couture in the 1990s, McQueen is one of the most conceptual fashion créateurs to clothe the runway in the early twenty-first century and continues to be celebrated for his love of tactile exploration and dramatic visual representations.
A number of gowns in Alexander McQueen's "Transitions" collection of spring/summer 2003 appear to be poetic renderings of a disaster at sea. While a similar dress appeared colored like the plumage of a tropical bird, this gown of sand-colored organza recalls the mille-feuille ridging on the surface of a shell. The hem of the skirt, like the wavy lip of a giant mollusk, further emphasizes the seashell quality of the gown. But unlike Aphrodite, who was born in the foam of the sea and borne to shore on a scallop, McQueen's beauty is a bruised pearl encased in a deconstructing oyster, the tumbled survivor of the violent action of waves.
"Junon" Dress - Christian Dior 1949
Pale-blue silk net embroidered with iridescent blue, green, and rust sequins; (a) L. at center front 11 in. (27.9 cm), (b) L. at center front 40 in. (101.6 cm), (c) L. 72 in. (182.9 cm), (d,e) dimensions not available
[FONT=geneva,arial,sans-serif]By 1949, Christian Dior's instinct for calibrated innovations of the body's "line" had established him as fashion's preeminent arbiter. That year, dresses called "Venus" and "Junon," or Hera to the Greeks, were among the most coveted of his designs. Dior's Venus was realized in the delicate eighteenth-century gray that was his signature, frosted with iridescent beading and embroidery. But his Junon is more vividly conceived. The magnificent skirt of ombréed petals, like abstractions of peacock feathers without their "eyes," obliquely references the bird associated with the Queen of the Olympians. Emanuel Ungaro's classical gown (1993.345.15a-c), like the magnificent peplos and capacious himation befitting the noblest Olympian goddess, is discrete in its coverage.
Current notions of classical dress are surprising in the breadth of their parameters. They are based in part on the original variations and manipulations of the antique models, the attributes accrued to it over time by artistic convention, and the twentieth-century adaptation of ancient methods to modern forms. That the dress of people two-and-a-half millennia in the past can imbue a design of today with the aura of myth and timeless beauty suggests that the classical mode, like Penelope's weaving, is continuous and without end.
[/FONT]
met museum
Spring/Summer 2003
Shredded ivory silk chiffon and tiered silk organza
British designer Alexander McQueen has been hailed for his challenging perceptions of the role of fashion in political, social, and cultural criticism. His collections are often cohesive thematic interpretations, alluding to dramatic media events (the "Highland r*pe," a 1996 runway consortium of tattered dresses and bloody catwalkers) as much as aesthetic or artistic movements. Credited alongside peers such as John Galliano with the return of artistry to couture in the 1990s, McQueen is one of the most conceptual fashion créateurs to clothe the runway in the early twenty-first century and continues to be celebrated for his love of tactile exploration and dramatic visual representations.
A number of gowns in Alexander McQueen's "Transitions" collection of spring/summer 2003 appear to be poetic renderings of a disaster at sea. While a similar dress appeared colored like the plumage of a tropical bird, this gown of sand-colored organza recalls the mille-feuille ridging on the surface of a shell. The hem of the skirt, like the wavy lip of a giant mollusk, further emphasizes the seashell quality of the gown. But unlike Aphrodite, who was born in the foam of the sea and borne to shore on a scallop, McQueen's beauty is a bruised pearl encased in a deconstructing oyster, the tumbled survivor of the violent action of waves.
"Junon" Dress - Christian Dior 1949
Pale-blue silk net embroidered with iridescent blue, green, and rust sequins; (a) L. at center front 11 in. (27.9 cm), (b) L. at center front 40 in. (101.6 cm), (c) L. 72 in. (182.9 cm), (d,e) dimensions not available
[FONT=geneva,arial,sans-serif]By 1949, Christian Dior's instinct for calibrated innovations of the body's "line" had established him as fashion's preeminent arbiter. That year, dresses called "Venus" and "Junon," or Hera to the Greeks, were among the most coveted of his designs. Dior's Venus was realized in the delicate eighteenth-century gray that was his signature, frosted with iridescent beading and embroidery. But his Junon is more vividly conceived. The magnificent skirt of ombréed petals, like abstractions of peacock feathers without their "eyes," obliquely references the bird associated with the Queen of the Olympians. Emanuel Ungaro's classical gown (1993.345.15a-c), like the magnificent peplos and capacious himation befitting the noblest Olympian goddess, is discrete in its coverage.
Current notions of classical dress are surprising in the breadth of their parameters. They are based in part on the original variations and manipulations of the antique models, the attributes accrued to it over time by artistic convention, and the twentieth-century adaptation of ancient methods to modern forms. That the dress of people two-and-a-half millennia in the past can imbue a design of today with the aura of myth and timeless beauty suggests that the classical mode, like Penelope's weaving, is continuous and without end.
[/FONT]
met museum
Last edited by a moderator:
