(my favorite one this season) revisits the collective memory of Haute Couture ensemble and re-ensemble through periods, places and people. Such as recomposed relics and fabrics that have been transformed into a collection that blends the idea of love and memories worn proudly and passed to others that will later add another element from themselves.
Interesting the idea proposed for this season by the Maison Martin Margiela haute couture atelier to re-interpret old garments and transforming them from sample embroideries and ordinary items into new gorgeous pieces.
Details from Chanel haute couture f/w 2014
That twistedness was the key to the collection. The word couture implies cutting and seaming. There was none of that here. Everything was molded rather than seamed. “It’s Haute Couture without the Couture,” said Lagerfeld, tongue firmly in cheek. And yet there was look after look of a gorgeousness so exquisite it could only be achieved in ateliers that were accustomed to confronting the impossible—and mastering it. It must help that Lagerfeld always has the future in mind as he cherry-picks his way through the past. Take lace and coat it with silicone. Think pink, but think plastic, too. Tatter, shred, disrespect…and make something new. That was all in keeping with the much-touted youth-ifying of Couture. Sam McKnight’s hair and Maison Michel’s little hats perched pertly on the back of the models’ heads had the effect of a Haircut 100 cover from The Face circa 1982. The effect was compounded by Lagerfeld building his silhouette on shorts. There were coatdresses over shorts, jackets and skirts over shorts, plus the perfect shoes for shorts—sandals. Given the molded, sculpted nature of the clothes, Lagerfeld liked the ease of a flat. “The models can walk in those dresses like they’re nothing,” he said.
Amazing embroidery at Elie Saab haute couture f/w 2014