When it comes to high fashion, the rhetoric question, to be honest, and also one small amount moralist – it is always the same: “What is the relevance of this ancient art and its rituals, today? It makes sense to preserve it, even when it becomes a mere exercise in style to sell perfumes and cosmetics?”. Questions Philistines.
The couture, which is the analog par excellence, is to digital as a sonnet to text messaging. It is the bulwark that saves urbanization. It’s a unique expertise, assets almost exclusively in Italian and French, which no one can play cheap, and that it is imperative to preserve, because without beauty there is no progress. Never has fashion he needs to resist the culture of fraudulent profit for profit, marketing that disguises the product. Of course, while consuming trends – always still there – and leaders with a voracious bulimic, the craftsmanship, the preciousness, the slowness that have brought high fashion and quality concepts seem anachronistic.
In recent times, then – the work of John Galliano for Dior he was the supreme example – the couture has often been interpreted hyperbolic, histrionic, reinforcing the impression of a small self-sufficient microcosm and uncommunicative with the rest of the system. But it is not: high fashion has a loyal, ever-generational, the visit of mothers and daughters is common in the parterre of the show. Rhetoric and misunderstandings aside, the couture is in fact essentially a service: reserved for a few, of course, lifestyle unthinkable for most, but still such. The studios of Valentino in Rome, for example, tremble to fulfill orders during the year, much more than in the vicinity of the parade, and this in order to silence those who think that is red carpet couture or so.
A breakthrough has been achieved, and it can not be ignored: matches, finally, with the generational change among the creators. Put aside the theater, the new wave of couture combines pragmatism and the desire to dream, search for the sensational and awareness of the function of use. This is what actually couturier have always done before the Ready to Wear fashion reduced high fashion in an ancillary role and phantasmagorical, because the footbridge required only glitter and show.
It is no longer the case. The arrival of Raf Simons for Dior, as the increasing success of Chiuri and Piccioli for Valentino couture really speak of a contemporary thin but concrete.
Giorgio Armani is moving in the same direction with its purity liquid, and so Giambattista Valli which contradicts monumental silhouette with a sense of fragile transience. Examples, all of a couture precious, that whispers and screams. Because the real luxury today in high fashion and not only are the imagination and dexterity put at the service of the customer.