Just three colors today were enough for Giorgio Armani to build an autumn-winter haute couture collection that was focusing on spherical volumes, and for Stéphane Rolland to sculpt designs punctuated with gold, at Paris Fashion Week.
Red, black and white made up the exclusive palette that the Italian firm contrasted in block, fusion, superimposition or gradient.
At first, the passion was limited to excelling in accessories, until a model stepped on the catwalk in a flowing coat and full vermilion shorts.
After this wake-up call, the parade was returning to the sobriety of black or white suits with jackets and trousers, with incursions into hidden and strategic places in Armani ‘s unique shade of red .
The first time that these chromatic nuances were sharing a garment was with an animal print, which was followed by one of flowers and a graphic puzzle.
The selected pigments had been settled on the piqué reliefs, the origami feathers, the bows decorated with “rhinestones”, the crinoline, the organza or patent leather fringes, the tulle ruffles and the tiny sequins or the rhinestones.
Armani was playing with polka dots, which he was printing on a silk “mikado” coat and inserted into mesh veils, and with chenille spheres that he arranged on a random “plumetti”.
This admiration for the spherical shape was also reflected in the silhouettes that moved clothing away from the body, such as the circular red bolero that closed the parade at the National Theater de Chaillot, in the Trocadero square in Paris.
This appointment brought together different personalities from the show, such as actresses Juliette Binoche, Sophia Loren, Elsa Pataky, Chloë Moretz and Kate Hudson, as well as Jared Leto, who were attending the Chanel fashion show this morning.
The three star colors of the day also took the lead in the collection that Stéphane Rolland was exhibiting in a movie theater next to the Champs-Élysées.
Unlike Armani, the French couturier was choosing to broaden the spectrum of reds, from crimson to burgundy and orange, and added a new sparkle, gold.
“I have played with ergonomics and materials,” explained Rolland to Efe, whose inspiration in Japan, in sportswear and in light was reflected in the shapes that cut out the body, the brushstrokes on the fabric, the embroidery and the chains metallic.
Velvet and mesh covered and uncovered skin, while colored feathers crisscrossed the back, ruffles fluttered at the bottoms of dresses, and fabric “branches” emerged from the strapless neckline.
The statuesque silhouettes lay on mannequins, which the public was approaching before attending the screening of the short film that showed them under the common thread of a love story.
Like an artistic haute couture advertisement, starring Spanish model Nieves Álvarez and French actor Jalil Lespert, this project portrayed a woman in Paris dressed in their brand.
“I wanted to express myself in a different way. I’m not just a fashion designer, but a creator,” defended the couturier, whom Álvarez considers a fashion master who makes “architectural” and “very special” suits.
Ulyana Sereenko, born in present-day Kazakhstan but raised in Saint Petersburg, was parading in the “off” with a collection that recalled the turbulent first quarter of the 20th century of a Russia that embraced communism after rebelling against the stars.
At the Palais de Tokyo, a sculpture of a huge white swan was presiding over the show, which featured long coats and tight corsets, flowing silks and rigorous pleated skirts, lace and embroidered gowns, ostentatious furs and wide, high-waisted trousers.
On this day, which had been opened with the Chanel parade, Bouchra Jarrar, Julien Fournié and Alexandre Vauthier also paraded.