Versace Atelier line

Paris, January 23rd 2012: Apparently, it's been seven years since Versace Atelier presented at the Paris Couture shows, but that did not stop Donatella Versace from busting out the big guns and we don't mean boobies. They say if you don't use it, well...you loose it, but this was not the case for the house of Versace and it's Versace Atelier line. The Beaux arts museum located in one of Paris's most fashionable arrondissements was a flutter with fashion's die hard veterans and Hollywood's A List stock. The absence of Versace Atelier from Paris's couture shows and its recent debut seemingly only made Donatella's fans more ravenous and Donatella more brazen. As the models whipped out from behind the stage, each dress, cut to absolute perfection, with crystals and sequins that shone like diamonds. It was a modern collection for the old school glam rock set, made for bodies deserving (or at least wanting) to be draped in gold and diamonds. Donatella, known for her fearless sense of femininity sent models out in long strapless gowns, made in sensuously taunting color pallets that ranged from slick poppy red to a delicately glistening celadon. For Versace Atalier haute couture 2012, the models legs went on forever, Donatella giving them the opportunity to show them, as just about every dress had a killer thigh reveal.

Last night on the Rue Boissy D'Anglas in Paris's 8th arrondissement, the team at Giambattista Valli was preparing the models, putting the final touches on fittings in preparation for his haute couture show. Only in its second season, Giambattista Valli Couture hit some high notes and undoubtedly made some new friends with his pretty floral creations. Firstly, the color! There were unmistakable spring prints however; at times it felt almost too rich and dark for spring's fresh color palette. On the other hand, it seemed as if there was a dress for every occasion, spring's nighttime garden parties that demand a richly hued and flowing plum gown. Alternatively, there were dusty stark blacks and fresh delicate whites, made with dowry laces and richly wor

"Overall it was a beautiful collection, heavy on the "ready" but lacking on the "haute".

ked cottons. Overall it was a beautiful collection, heavy on the "ready" but lacking on the "haute".

Christian Dior, who has decided to hire a replacement for John Galliano, played it safe and has continued to allow Bill Gaytten to design in place of Galliano for his second season at the house of Dior. The collection, which debuted to pithy reviews, harkened back to couture fit for a "Betty Draper". Notwithstanding, it was at least marketable and high end retail consumers should be able to at least find something this spring that echoes back to it. The haute couture set, well, they'd be wise to snap up what has been predicted by insiders to be very collectable pieces. Although, not inspired by John Galliano himself, there seemed to be what looked like, the ghost of him rendered in every piece. There were delicate tulle dresses with just a whisper of color that were practically nude, embellished with fluffy pressed bows that covered the entire bust and that dangled just below the waist. Ever so inviting were the nipped in little jackets that accentuated the waist and hips. As John Galliano would've surely had it, the show was not without whimsy. On display was a vintage red dress, with bell sleeves, a nipped in waist but a 60's silhouette, in what looked to be organza. It had a curly white handwriting on the skirt and I'd like to think Galliano would've approved of that.

Web Link:
wall street journal blog