Simplicity and Paradox were the two conceptual drivers of the PPP haute couture collection, held on the magnificent grounds of the Château de Chantilly. “Simplicity is the resolution of complexity,” he said in a press release quoting the artist Constantin Brancusi, whose sculptures are the epitome of modernism in absolute purity. Piccioli called the play “Un Château”. “It’s somewhat paradoxical to show in a historical site that I think is a metaphor for status and power, a symbolism that has to be questioned and recontextualized,” he said.
fashionen plein air, out of the palatial interior of the castle, a metaphorical way that Piccioli visually expresses, freeing the walls The shackles of the elite life of the elite have opened up the segregation of privileges – liberty , equality, fraternity . Models walk around one of the chateau’s huge French parterres; the show skirts the round basin, which leaves in the background 80 The elegant silhouette of a century estate. The perfect sunset; the breeze; the lyrical and emotional voice of Anhoni on the soundtrack – it seems like the stars lined up to inject some magic into the spirit of the place.
One of the paradoxes of couture is that it is one that is falsely synonymous with redundant complexity. Contrary to the technical sophistication of Piccioli’s atelier, which brought even the most delicate craft to life, Piccioli believed in the simplicity of the essence of haute couture. He proves it by showing a series devoid of pyrotechnics, superfluous gimmicks and crowd-pleasing distractions. It is simplicity at its finest, a celebration of imagination and utter clarity. “It’s all about hiding the effort required to achieve simplicity,” he says.
Dragging is one of the most challenging haute couture structures, incorporating verticals that define posture , Pure, essential silhouettes, exuberant, contemporary, and influenced by the refinedspontaneous inherent in the Valentino aesthetic. Pillar dresses and tunics feature deceptively simple bias cuts and soft draping techniques that allow them to sensually fit against the body; hooded capes become a “modern Madonna’s cape” with cutouts for bare skin The bodice extends into twisted knots, framing the face. What Piccioli wanted to achieve, he explained, was almost no gravity. A beautiful white dress in featherlight, velvety cashmere (“just a rectangular T-shirt,” he called it) with an asymmetrical trailing hem at the back that can be cut diagonally and become. A white tunic in heavenly soft velvet drapes in such a way that it “freezes the spontaneous movement of the skirt in a kind of still image.”
Entire collection Full of creative paradoxes, one of the most striking was Kaia Gerber’s opening look. A pair of casual jeans reminiscent of a classic vintage Levi’s style are actually made of silk and fully embroidered with tiny pearls dyed 17 indigo shades to recreate the texture of real denim . Paired with a flawless oversized masculine white shirt, gold flat slippers, and dangling rhinestone chandelier earrings, it was a beautiful example of what Piccioli called “a trompe l’oeil of nothing short of contradictions.” The same approach was seen in a flowy trapeze gown with rounded feather ruffles in 80 feet of white organza. In order to make the feathers even lighter and extraordinarily weightless, they are burned one by one to achieve the correct vibratingrhythm. This is obviously a mission impossible, but not for the mighty Valentino studio. “We knew, we were crazy,” Piccioli said. He was only half joking.
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