Alexis Mabille and the Scent of Femininity

by Lenka Dimitrova 

Alexis Mabille's unleashed his conceptual curiosity to the realm of dressmaking and came up with a series of exquisite dresses that tried to envision what a woman's scent would look like if it was a dress. The idea in itself is amusing and whimsical so it is no surprise the dresses exude the same level of levity. But don't let that fool you, as each piece is a piece worth looking over and over again. A blouson blanketed in sculpted gold lamé flowers, studded with tiny jewels at their centers was the piece that Alexis viewed as the foundational piece of this collection. That being said, any of the pieces could tiptoe between artistic whimsy and sheer joy. 

Redemption and the Future of Italian Couture

by the Editorial Staff

Redemption is not your run of the mil fashion house. The social impact strategy it follows (by donating 50% of its net profit to charities) is not only commendable but also worth replicating. So it is no surprise that a lot of people have a soft spot for this Italian brand which exudes a sense of libertarian whimsy with a touch of Italian flair. This fall collection provided a glimpse into Gabriele Moratti's playbook concerning functional couture. The collection of just 10 gowns suggested an already efficient and minimalist (relatively) approach to Haute Couture and a closer look would suggest that is exactly where Redemption is moving in terms of its current collection. That is not to say that this collection lacks any of the pomp and grandeur you expect with Italian couture, those are all present in its DNA being within the realm of untamed rock-n-roll influence and glittering embroideries. But what is unique (if not rebellious) about this collection is the ability of Moratti to create a narrative that complements the notion of couture while remaining true to Redemption's blueprint. Redemption had a foundational understanding of where couture is going and we loved it. 

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Alberta Ferreti and the Taj Mahal of Subtlety

by Olivia Moreau

Alberta Ferretti is the darling of hollywood. Her ultra-feminine wispy dresses are built to add the subtle to the exquisite. Minuit à Jaipur, Jardin de Rêve, Amour de la Pleine Lune, Vent de Vénus were some of the pieces that graced this beautiful collection which was an homage to Mughal aesthetics with a touch of western modernism. Ferretti's ability to weave distinct narratives into one singular thread of aesthetics is rivaled by none in the industry at this point. And in many ways we are seeing the rise of more functional couture and Ferretti is right at the front of this subtle revolution. 

Alexandre Vauthier and the Siren Song of the 80s

by Olivia Moreau 

Alexandre Vauthier likes the 80s and his couture collection gave every indication that he is reviving the disco-excellence and big-hair-exuberance of ’80s haute couture.The shoulder-padded base layers, the glittery sway of supermodels, the see-through levity of sheer fabrics were all the rage during the 80s and Vauthier teased out the best of that era in that collection. The elegance to which he approaches this collection is worth noting and the alpaca, fur, and silk are just the cherry on top. 

Versace's 'Minimalist' Revolution

by Linda Bezos 

Never has Versace been a minimalist meander into fashion. So the shock was palpable to find Versace's Haute Couture veering in that direction. But once that settled in the exquisite nature of the 19 looks exhibited at the Versace store on the Avenue Montaigne, suggested no real departure from what Donatella's Versace is but an addition to that fabled line. The introduction of 3D printing along with meticulously detailed dresses made for an intoxicating evening...something Versace can do with or without the usual grand introduction of overwhelming aesthetics. And that in itself makes Versace the early front-runner to this year's Haute Couture ball. 

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Haute Escapism of Francesco Scognamiglio

by Linda Bezos 

Francesco Scognamiglio skipped Paris haute couture but released his couture collection from his atelier in Milan. His work is of a traditional master devoid of the exhausting celebrity driven outputs of bigger fashion houses. He views his couture work to be the pinnacle of fashion and rightly so. While Paris was full of experimentation and levity, Francesco's work is of meditation and seriousness. Despite the philosophical schism that exists between old masters and new machines, the quality of Scognamiglio's work is undisputed. The escapism from the hordes of fashion bloggers, stylists is all there as a form of quiet revolution, creating a foundation for solace if not utopia. And haute couture is the right space to enjoy the heady height of fashion's ivory tower and from the looks of it, Scognamiglio is enjoying it.