Some couture ateliers are innovating. Before the Valentino show, I visited Maria Grazia Chiuri and Pier Paolo Piccioli, Valentino’s latest designers at the company’s Parisian HQ on the Place Vendôme. Grazia Chiuri and Piccioli were slammed last season for being too slavish to Valentino’s archives for their first ready-to-wear collection but, up close, I thought that their ballgowns were astonishingly accomplished.
Who knows what Valentino’s faithful clients will make of the Goth effect, but those strapless tulle and patchwork lace soufflés were, in their way, small miracles, bound together with feathery stitches, internal corsetry and in some cases 50 years of technical knowhow that will vanish if couture really is on its last legs.
Perhaps it will die anyway, since few young people want to toil in the back rooms like Valentino’s team of grandmothers do. The chiarascuro effect of black-upon-grey-upon-taupe layers turned the dresses into moving shadows. “We wanted to create a new shade of black,” Piccioli told me. How couture to think you can invent a new colour. And in the week in which another couture star began its descent, how fitting it should be black.