Fashion Weeks in the Time of COVID 19 FBS C19 Issue 11:
17.07.20!
Alexis Mabille
There has always been a dichotomy between men’s wear and women’s wear. It is simply that fantasy and flamboyance is not a natural partner with the clothing that men wear. Sportswear, leisurewear, streetwear, and formalwear all serve a specific functionality within a man’s life. Clothes do the same for women but the packaging and narrative of, even a blazer, can be more inventive, and imaginative. Whatever the arguments may be about gender, men predominantly take a practical and facts-based approach to what they wear, women can be more impulsive in clothing purchases and be swayed by fashion, and it’s seasonal packaging. Today with gender blurring it should be that this is diminishing or open for discussion, you’d think? Well in terms of presenting the two collections during the last few days it’s clear that a sparkling narrative and a brilliant film is appropriate to showing women’s couture and a nicely styled Lookbook is the key option for men. There’s also surprisingly little womenswear or gender-neutral clothing featured during the menswear days.
Tradition wins over new ideas?
The other surprise is that edgy and off the wall/blue sky thinking/ outside the box isn’t where it’s at. The key to most of the offerings was clarity of presenting the clothes and communicating the pieces to the people sitting at home.
How many designers and their teams dealt with the current situation was fascinating. Some used their time slot during the schedule as merely a holding post for later developments, some badly misjudged the current ‘climate’ of casting, mood and ideas. Some opted out completely, no doubt hoping to learn from others mistakes, or to simply follow, but the ideas were fabulously disparate just as it should be, and choices made were personal and appropriate to the maison’s ethos. What seemed true was to have a strong firm approach and not be wish washy, and above all to communicate. Sitting at home, alone, watching the screen; either you grab your audience and it’s worked, or they’ve moved on to the next thing. It’s a hard cruel world fashion, and lockdown certainly hasn’t weakened its bite.
I think it’s very important to remember that most fashion professionals were watching in isolation, not on a big screen with their team around them. This is why communication and clarity and the ability to inspire and inform has become so important. As a great example are the post couture show short films made by backstage and atelier supreme Logic Prigent for Chanel, of which more later.
Both seasons, as a final observation, to be honest are about selling. The desire for beautiful things from a Rolex watch to Berluti shoes to a Dior skirt has not been smothered by the COVID 19 pandemic. Dreams and aspirations for luxury have not died, but perhaps more people are dreaming, more people are thinking about investing in their clothing, and buy better buy less certainly applies to both couture and the designer menswear price bracket.
So, if you haven’t explored the presentations and the pieces offered online, here are some pointers, some jumping off points to inspire and engage your imagination and observations to make you think.
Womenswear this week, menswear to follow.
So, we first come to the preshow show. This was not on the official schedule, in fact I originally heard about it from a friend who works in PR in Paris.
Tony Glenville Fashion Commentator
Balmain:
Olivier Rostaing showed archive pieces of Balmain, live from on a boat on the Seine the evening before the couture officially kicked off. With singer Yseult in flying panels of white Balmain and models and dancers whooping it up it was certainly in keeping with Rostaings, TikTok, and social media love affair as a means of communication.
Paris Haute Couture July 6th to 8th July 2020:
Schiaparelli:
Daniel Roseberry the designer for the house was caught in New York and unable to get back to Paris, and therefore engage with the house ateliers. The film showed him walking to a park bench and creating the collection in drawing form. The atmosphere of regret and isolation from the work he loves, the ideas pouring out of him in brilliant sketches, and right now no opportunity to work with his team. A great opener, but no real clothes. ‘Collection Imaginaire’
Ulyana Seergenko:
Introduced with the heritage of Russian embroidery and the development of this craft through from an original simplistic peasant version, then through to a sophisticated couture interpretation. The wonderful imagery of the village and the tradition and the heritage; Krestetskaya Stitich with over one hundred and fifty years of history. Taken to the Moscow couture ateliers and shown in intense closeup the work and minutiae of the craft. The mood of the clothes themselves was very much the power dressing of 1940’s Hollywood. Strong shoulders and the restrained drape and softness characteristic of that time. The film was black and white and colour and was very well paced and communicated well to the viewer.
Iris Van Herpen:
A single (very) beautiful white dress with minuscule black caviar beading in an abstract design) dress shot on the Game of Thrones actress Carice van Houton. Very lovely, rather slow, but also, considering Iris Van Herpen is usually so experimental, most people I spoke to were hoping for a more innovative approach. ‘Transmotion’
Maurizio Galante:
The first film of the week to make one really sit up and take notice. The legendary Yves Saint Laurent model Amalia Vaitelli descending and twisting and twirling, again and again down a dark spiral staircase in a series of Galante pieces. Mesmerising in its dark chiaroscuro, since Galante pieces are made of many complex repetitions, things swayed and undulated and bounced, and glittered. This was couture; film, casting, narrative and moods, all in total and perfect harmony. ‘A Promise’
Dior:
A worrying series of decisions and miscalculations by the house need to be analysed. Firstly, the close up of the petite mains working in the ateliers on the miniature versions of couture were delightful. However, Théâtre de la Mode which was the inspiration was launched in 1945/46 in Paris before the house of Dior existed. Also, the idea of presenting Dior as having to surmount post war shortages and demonstrate the revival of craft, the original raison d’être for the enterprise, seems mismatched. Next the entire team, film maker, location, etc, were based in and around Rome. Dior is a French couture house. The theme of mythical sirens, nymphs and Narcissus must have seemed like a great idea, but this escapist fantasy was oddly out of kilter with today; to ancient, to like a Roman Epic of the 1960’s with Sophia Loren. The final problem was the casting, in spite of actually issuing a press release communicating about Maria Grazia Chiuri and her support for BLM and cultural diversity, the entire cast was white Caucasian. The clothes slipped down the list of things to observe about the film, it were actually very lovely, very much a continuation of the designer’s vision of Dior. There were however two more mysteries to this film. Firstly, mention was made of tailoring in the end credits and we had seen none, plus in the press release Surrealist women were mentioned as muses for the season, again not a trace in anything shown. Some images posted by Dior subsequently did hint at traces of these elements, but how either chimes with the nymph’s film is impossible to fathom. ‘Le Mythe Dior’
Maison Rabih Kayrouz:
A single dress but linking the original sketch in Beirut to the atelier in Paris. Showing all the stages of development and the precision of the construction. There is also a ‘making of’ film in black and white to add to these moments. For those of us who know and love the designers work, the links and the final shots of a single model twisting and spinning in the Paris atelier were sweet reminders of times past, and a promise for the future. The goldfish coloured grosgrain ribbon dress was a tour de force. ‘320/38’ is a reference to the two addresses in Beirut and Paris.
Ralph & Russo:
Tamara Ralph spoke of her ideas and the craft of couture, and models wearing sumptuous pieces was fine; but in the second part of the film it was revealed that the Maison had also created an avatar. This confused the issue a bit and in the end the film fell a little flat because it lacked focus; designer talking, illustration work, the textiles, models parading and the avatar morphing. The first part of the film, indeed half of it, was about the workrooms, and the fittings and then the models for a photo shoot. Tacking the avatar on was actually probably superfluous? Watch what happens anyway and you decide.
Azzaro Couture:
The debut season for Olivier Theyskens as the new designer. He revealed several pieces paying homage to the signatures of the house. This was defiantly amongst those whose film had a hint of MTV. Indeed, with Azzaro’s glamorous heritage this actually seemed totally appropriate. Performer Sylvie Kreusch was the star of the film. The was a touch of Jean Paul Goude and a nod to disco divas in the film, and nightclubbing and centre stage chanteuses shone. The clothes shimmered and sparkled, the details were all perfectly placed, and we saw enough to whet our appetites for a full show. A delicious taster of things to come. ‘Seedy Tricks’
Antonio Grimaldi:
With an ambitious mythological scenario, filmed at an amazing Palladio building, with excellent casting between the two key protagonists. Then there were also the three women/models who formed a chorus. Whilst the leading ladies battled it out in black and white the chorus were like three extraordinary orchids as they posed and marched in their architectural and dramatic couture shapes. The orchid colours and the flow of the fabrics provided a distinct contrast to the fluid feathered shapes of the other looks. These defining. couture shapes and the close ups of the meticulous work within the feathered edgings were all shown in close up as part of the scenario. Leading Italian actress Asia Argento starred, and directed. It was intensely Italianate in its feeling and had an operatic flavour of drama. ‘Aelektra’
Xuan:
Xuan never presents huge collections, and often there is a slightly static quality even with live models, so this quirky stop start film matched perfectly.
The first outfit obviously was signature ruffles but the models head was inside a Daliesque hood of flowers, and the ruffles grew, next we had a neat white surgical coat with a superb explosion of quills and plumes at the neck, more looks followed including a white dress which reminded me of a huge blank notebook with white pages unfolding ready to be written upon, the headdress was a silvery confection of thistles. It is this very oddity that Xuan, that is Dutch-Vietnamese designer Xuan-Thu Nguyen, brings to her collections, even her ruffles have an off kilter, exuberance which transforms them. It’s always great when a designer stays true to their personality and creative signature. “Windows of Infinity”
Giambattista Valli:
With Joan Smalls as the only model shot in a huge uncluttered studio space, this built on the previous season when Valli showed a static collection on mannequins in the Jeu de la Paume in Paris. The masks which now seemed so relevant had in fact already appeared in January, but now seems like a couture response to COVID 19. The huge tulle ball gowns beloved of Valli, and it must be said much copies by other designers during the week, were of course fabulous, but there was much play on bows. Exaggerating and exaggerated the proportions blown up bigger and bigger Joan Smalls made them seem eminently wearable. Colours ranged from intense florals like geranium shades through to graphic black and white. Editing might have made this even stronger but the split screen moments and the beauty of the model carried us brought in expectation to the end.
Georges Hobeika:
A huge expanse of space in the open air held the catwalk show of womenswear, spiced with some menswear pieces. It wasn’t fast enough or clever enough with the competition surrounding it to be a winner. It succeeded on its own terms, but was curiously unadventurous, even in cutting. The clothes were signature Hobeika and many of them very beautiful, but in the final analysis it failed to engage or sparkle as it should have done. Perhaps a recut and edited version will now appear to grab our attention.
Chanel:
Preshow Logic Pringent has released short behind the scenes glimpses of the petite mains at work in the ateliers. Virginie Viard the designer now at the helm at the maison since the death of Karl Lagerfeld, and Amanda Harlech along with models and fitters were shown working on the collection. These have continued brilliantly since the original show release. The party film shown originally backed up the theme which Viard proposed, “More Karl Lagerfeld than Gabrielle Chanel, it’s pop divas leaving Le Palace ( a famous nightclub and disco and restaurant Lagerfeld frequented in the 1970’s) after a riotous disco night”. Flounces of dancing grey taffeta, shimmering encrusted flowers on a neat fit ‘n flare dress, long slender layers with boot cut trousers, and bursts of feathers, fireworks of sparkle and chic silhouettes from floating and fluid, to crisp and neat. The look books and mini clips continue to show a strong collection with a truly timeless feel to it, perfectly pitched for 2020/2021; applause please.
Alexis Mabille:
Shot in a huge pink box with an exaggerated perspective the effect of an Alice in Wonderland catwalk show was perfect. Mabille is a superb colourist and this was effectively shown with gloves and accents. The clothes withstood close up scrutiny and as ever Mabille balanced soft fluid flattering shapes with movement and ease, against silhouettes with sexy rigour. A master at balancing a collection in its contents, from a tiny bolero to a floor length statement, Alexis Mabille matched his creative aesthetic perfectly to the online moment. A complete show, but a fast, snappy and uptempo show for difficult times. Applause is required. ‘Attitude’
Aganovich:
Some time ago Erik Madigan Heck was to make an animated film for Aganovich. When it transpired that couture, this season was going digital, it seemed the perfect et moment to make the attempt to achieve this. It’s perfect. It’s no secret that I am a huge admirer of the Aganovich couture, but this perhaps made me more nervous to see if the film would match their vision of couture; it did. Watch and enjoy, for me especially the insane ribbons dancing. ‘Le Grand Cirque’
Stephane Rolland:
A single model in a huge white studio. Working her way through the looks one after the other, moving, posing, ready for a close up or making a superbly dramatic exit. There were also perfect close ups of the extraordinary beading and embellishment. With its roots in the heritage of haute couture and the Paris ateliers, Rolland adjusts it into a modern, sharp and sculptural variation, perfectly suited to his signature and mood. As always with this couturier there is superb handling of volume and movement and its is obvious that here is as designer who knows his personal creative signature as well as he knows his clients. Confidence in apparent in his interpretation of couture and his modernity in forms and decoration. The model is Nieves Alvarez and perfectly appropriate to the clothes, the film, and the ethos of the maison.
Yuima Nakazato:
Yuima Nakazato is a designer who not only thinks, but who thinks deeply and converts those thoughts into couture concepts. This season his idea was to gather white shirts from a number of people, then redesign, assemble and deliver back these transformations. It’s up cycling, repurposing and a gift to the original owners. He spoke to each person and carefully listened and assimilated their personal and individual views. The delighted reactions from the ‘clients’ were a testimony to his careful attention, and his imaginative responses to each individual. Brilliant.
Julien Fournie:
The film Julien Fournie presented accomplished so many things. It presented the designer and his clothes, of course, but much more than that. Between his own words and those of the commentator, it explained how a couture house works and what a client might expect. Especially today, the conversation between the client and the maison, the fittings, the exclusivity and the sustainable nature of couture is essential. There was a slight hint of Douglas Sirk and the Hollywood of the 1950’s in the mood and approach of the film, without any retro over- weighting. It was the gloss, the polish, the finish which conveyed that true couture ambiance. It’s all about luxury and loveliness and of course the devoted team involved here. Everything under the eye of the creative director, designer and name on the label, Julien Fournie, who achieved the creation of this film at Oscar level.
Alexandre Vauthier:
The 1980’s pop video was resurrected for this seasons Vauthier Collection, but the true magic was in the Lookbook images. Shot by…they took soap opera, American suburbia, ‘The Hunger’, Yves Saint Laurent, Grace Jones, Pierre Cardin and with some extra bitters whizzed it all up to become pure Vauthier. The brilliance of Vauthier is that he effortlessly competes a range which encompasses sharp tailoring, decorative pieces, flower like ruffles, metallic ruched royal flourishes and long soft mousseline glamour.
Each piece says “I’m a statement” but it also never screams, for hidden brilliance is actual construction of each piece. It might be the piecing together of a ruffled sleeve, or the cut out in a Grecian style toga dress, but the truly couture element is the finish and attention to detail of everything. It’s a dull word, but there’s nothing dull about the quality of Alexandre Vauthier haute couture. Merci Monsieur
Aelis:
Sofia Crociani uses up cycling, recycling, dead stock repurposing, and ethical concepts throughout her work. There is a creative couture integrity and also a very specific artistic and creative mind at work. The film shown was magical using dancers ….and an enormous space with a rhythm and a pacing to it which showed off superbly one of the signatures I associate with Sofia’s work; movement. As the film progressed, we realised that the genders were swirled into a harmonious mix, but the treat was the ending. The dancers were filmed from above poised and posed as if in arrested motion, the pieces floating out around and across them like a celestial Baroque ceiling. Magical. ‘Angelness’
Rahul Mishra:
Integrity is an important asset in today’s creative worlds; taking up a position on how you work, and who you work with as a creative, is a clear statement of intent. Rahul Mishra is not only steeped in his own culture and heritage, he works in a way which not only develops these things into ideas which integrate them into his work, but also sustains the crafts and offers employment to the practitioners. Butterflies and gardens were at the heart of the source of the collection, but masks bedecked with butterflies, gardens whose imagery made one think of Kismet, and Persian Miniatures, took these two themes into an enchanted vision. It’s basically true to say that the film enhanced and communicated the designer’s thoughts and beliefs, articulate and considered Mishra is an artist. Watch the film and learn what creative cultural integrity can be. Oh, one last thing, in these days of gender discussions, it is refreshing to see so many men as the embroiders, alongside the male tailors and workroom mains in many of the films this week. ‘Butterfly People’
Ronald van der Kemp:
If sustainability is one of the key reasons to buy better and buy less, no one is a better advocate than Ronald van der Kemp. Not only is the idea of sustainable couture his raison d’etre now for some seasons, his range of looks forms a true collection. The balance from street to red carpet, from structured to fluid and from witty and printed to severe and plain, offers brilliant options to the clients. This season to encapsulate this range he offered eight short films. Each with a different title, attitude and emotion. Watch and see how he juggles with each theme yet remains true to his feeling for assemblage in constructing his pieces. A nod to the 80’s pouffe and bows, or a long line fluidity in geometrics it’s all possible. The final film offered close ups at a time when for many this is out primary view of people; we are seeing both ourselves and looking at others. The twist here was that it was as if these people were looking at us and wondering; a different view from a very different designer. A mini festival which lingers in the ‘Dream | Revolution | Pollution | Future | Art | Trash | Beauty | People’
Imane Ayissi:
This was so difficult for the designer. Only a few brief months since making his catwalk debut at couture, he would have to come up with an online presentation. In fact, he triumphed with a beautifully measured presentation entitled…with the screen often split showing nature. The juxtaposition of African based textiles of many types, with traditional luxury couture fabrics was repeated in the techniques used. The textured and treated fabrics were often used in overlapping scales or pieced together in almost random shapes which were then assembled into bodices, dresses and skirts. Some plain fabrics repeated these forms, the shapes almost looking like pebbles in fabric, in complete contrast there were also explosions of flounced tulle or pared down simple shapes supporting the more reckless inspirations. The whole was clear, concise and focussed, leaving the viewer satisfied that we knew exactly the designer’s intentions were and feeling inspired by these fashion cultures merging so perfectly in harmony. A triumph. “Amal-Si” [The great disaster]
Yanina:
Like many people Yanina looked to the natural world as the initial inspiration. Rahul Mishra, Elie Saab, Guo Pei, Ralph & Russo, and many others explored the world and both the landscapes and the animals. The call of the wild, the jungle and the plight of wild animals and endangered species is a recurring theme. Yanina took her theme and transported it to urban sophistication, especially since she shot her film of models wearing the collection in a Winter Garden or greenhouse, towering palms and fronds encircling the pieces. With some pieces a little literal in their portrayal of the animals the key pieces were those using more abstract patterns and mirroring the sophisticated view of couture Yanina expounds. With some close-up shots of the workmanship where appliqué to tulle or embroideries like camouflage in the shadows were employed this was a collection entirely aimed at its clients. Honest in its chic and dressed up allure.
Maison Margiela:
We have already reached part two of the Margiela sequence of offerings. It’s interesting and very much only possible as digital online work. Let’s wait and reserve judgement until the story is completed.
Franck Sorbier:
Possibly one of the highlights of the forty or so offerings during this couture season. Why? Well production values were superb, the cinematography and soundtrack, casting and narrative all of the highest standard. The idea acknowledged COVID 19, and it was revealed at the end of the film there was indeed a personal tragedy behind the chosen scenario. The length of the film was perfectly judged and to add the final touch of perfection, there is a terrific “making of” film also available. I recommend you watch and consider this was conceived not by a huge international business, a factor which applies to many of the superb presentations offered. Online couture was not about the biggest, the most famous or the largest budget, it was about commitment and emotion and a truth within the narrative. ‘Il Medico Della Peste’
Guo Pei:
The collection was entitled Savannah after the herds of exotic animals who roam in the wild. As every with Guo Pei and her workrooms the craft and embroidery and techniques used to create the clothes is truly amazing. It struck me as the film progressed that with a fashion theme so close to the musical The Lion King it was going to be interesting to see how this could be realised in fashion terms? The answer was a bit hit and miss, best when it was furthest from pockets shaped like elephants, and at time a little literal, especially since the designer had selected felt as a key fabric. Clever, brilliant workmanship but a little hard to see these pieces being hugely successful with clients in 2020/2021. ‘Savannah’
Elie Saab:
Using the short film to explain the thinking behind the collection, close ups of the superb technique of the workrooms and wetting our appetite for the collection reveal, we will have to wait through the summer. ‘Le Retour aux Sources’
Bouchra Jarrar:
An intensely French, indeed Parisienne take on a film, in noir et blanc Nouvelle Vague style. Twins, a boy, love, happiness and despair, but the clothes are fabulous. Bouchra Jarrar does sublime tailoring but also beautiful flour or drapery. Both were clearly evident in the pieces she presented in the film, with some hints of feathers and light as air tulle. It was chic and slick and perfectly matched the urban smartness of the clothes. ‘Edition No2’
Christophe Josse:
Paris in lockdown means the city has been pretty much deserted by pedestrians, traffic and tourists. What better time to film models strolling the atmospheric places at night with no problem of pedestrians, traffic or intrusions of tourists snapping on their phone’s. With a colour palette of palest ivory, cool white, bleached beige, chalky cream and dove white the clothes seemed almost unreal as the models walked towards the camera, strolled along arcades and wandered by the monuments. With accents of deep olive and …. This was a full collection but with no longeurs and no time wasted. Fabrics shimmered under the artificial night lights and every detail was pin sharp. Romantic clothes, Paris by night, great architecture and a hint of Russia. This is exactly how a classic couture collection should be presented. ‘Pavanes Intemporelles’
Jean-Paul Gaultier:
No Show, The Show Must Go On; whatever it was called it doesn’t matter. Since the first collection designed by Sacai has been put on hold for a few months this was unexpected, no alerts went out until wonderfully late, in fact three days before, in the day. Jean-Paul Gaultier gathers some muses, inspirers and personalities together to wear archive pieces filmed in and around his rue Saint Martin headquarters. It was upbeat, witty and a little of an insider’s story for those of us familiar with the maison. It swept by in a few minutes but was fun and fast, and uptempo. The sight of Tanel Bedrossiantz Gaultier’s longtime muse was simply splendid as he vogued it down the corridor.
Adeline Andre:
The small wooden figures used for figure drawing were dressed in the newest collection film from the designer. Simple pieces, but in close up a variety of fabrics from rough brushed wool, hopsack through to a hammered satin. A crisp white coat with a thin tie belt, a sharp Chinese yellow coat and deepest fir green, and a finale outfit in red, pink and orange with with curving, arcs of sleeves and a swinging floor length trapeze silhouette from a raised waistline. The stop frame animation, and the simplicity of the concept, cunningly concealed the artistry behind the ideas, clever Madame Andre.
Viktor & Rolf:
Trust Viktor & Rolf not to disappoint us, the presentation was terrific, and a winner. They simply took the original haute couture fashion show in a salon and re arranged into three neat stories featuring nine marvellous pieces. They then added the campest commentary and tied the whole thing up as a witty couture gift. Since then we’ve also discovered that couture goddess extraordinaire Miss Fame has been sent one of the outfits and modelled it in New York. What more could you ask for? ‘Change’
Julie de Libran:
How delightful to hear a designer charmingly name so many of her staff, team, supporters and friends who make her love for her work so obvious. The shimmering images between studio and catwalk show, the conjoined up the magic world of couture successfully. Next will be some new work, but as a couturier’s statement and manifesto on her craft it was one hundred successful.
Valentino:
The house used it place as the final “show” simply to tell us about upcoming events. To be really honest, the tiny film by Nick Knight was a bit of a damp squib to finish the three days on, even if we do have a show to look forward to with a live (Italian only) audience in a few weeks time.
Thank you T.G.
Note that nearly every production has a title:
I would note that many editors only covered a selection of shows, as usual.
• https://www.nytimes.com/2020/07/09/fashion/digital-couture-fashion-week-dior- chanel.html • https://nowfashion.com/between-mystery-and-mood-swings-29876
• https://nowfashion.com/the-show-must-go-on-jean-paul-gaultier-announces-a- new-chapter-29875
• https://nowfashion.com/a-play-on-elegance-and-eccentricity-29864
• https://nowfashion.com/artisanal-flair-meets-high-tech-at-couture-29855
• https://nowfashion.com/dreaming-of-faraway-lands-at-digital-haute-couture- 29854
• https://www.businessoffashion.com/articles/fashion-show-review/did-digital- couture-week-work
• https://www.harpersbazaar.com/fashion/fashion-week/g33026996/haute-couture- fall-2020/
• https://fashionmagazine.com/style/haute-couture-fashion-week-fall-2020-shows/
• https://timesofindia.indiatimes.com/life-style/fashion/shows/paris-fashion-week- 2020-goes-digital-with-its-haute-couture-collection/articleshow/76850878.cms
• https://www.ft.com/content/34f87de8-760a-455d-928a-0d5d78b1e7a1
Online Couture Show Links:
Balmain https://youtu.be/afVA2_sLzak
Schiaparelli https://youtu.be/yMGlMsIpplE
Iris Van Herpen https://youtu.be/aS4emRhmRHM
Ulyna Seergenko https://youtu.be/b9d0AFiJEYo
Maurizio Galante https://youtu.be/Zp4xJykKkgE
Dior
https://youtu.be/yxBFwqRbI8c https://youtu.be/ZK1hGDkSGJY https://youtu.be/BTOkxUMwXS8 https://youtu.be/0J8YW9K8qGU
Maison Rabih Kayrouz https://youtu.be/7ofD2XIqV38 https://youtu.be/3SKSIdcsu_c
Ralph & Russo
https://youtu.be/TEllUOLAWRQ
Azzaro Couture https://youtu.be/0vokFC7jLDQ
Antonio Grimaldi https://youtu.be/_XRJr_fJ1wE
Xuan https://youtu.be/KPEOmkLZ1dM Giambattista Valli https://youtu.be/DvHBJDE32Hc
Georges Hobeika https://youtu.be/eu6MSYYwpVk
Chanel https://youtu.be/byGgiKj1LRY https://youtu.be/iW_mNEsDd-0 https://youtu.be/Xl1c_iKHTK8 https://youtu.be/uj1yRUUOvuA
Alexis Mabille https://youtu.be/acRVgqY3ZHI https://youtu.be/SaAdosypG
Aganovich https://youtu.be/g0t276UXDqg
Stephane Rolland https://youtu.be/fXfNtF0Yd5Y
Yuima Nakazato https://youtu.be/pkS1-HDLMMA
Julien Fournie https://youtu.be/izaGbE0ygXU
Alexandre Vauthier https://youtu.be/izaGbE0ygXU
Aelis https://youtu.be/k1c-mnQdJLA
Rahul Mishra https://youtu.be/o3x6LLLfeW4
RONALD VAN DER KEMP https://youtu.be/yF0cwSL02Og
Imane Ayisse https://youtu.be/pPFnNfzhCiU
Yanina https://youtu.be/R_-OlwbXt60
Maison Margiela https://youtu.be/t2tA7y3FjEs https://youtu.be/BFdvGOtX7u4
Franck Sorbier https://youtu.be/1UunvvkTbNY https://youtu.be/5lcRqHJOIU8
Guo Pei https://youtu.be/e4CD6JwjYzQ
Elie Saab https://youtu.be/iY-dWZ_7Qcc
BOUCHRA JARRAR https://www.vogue.com/video/watch/bouchra-jarrar-fall-2020-couture
Christophe Josse https://youtu.be/I7TYjQWXZ3M
Jean-Paul Gaultier https://youtu.be/LabxTsQFbSk
Adeline Andre
Instagram @adelineandreofficial
Viktor & Rolf https://youtu.be/_DI0Dbod9CI
Julie De Libran https://youtu.be/1uYYUZKbMcA
Valentino https://youtu.be/e1Rzh1GceN8