Vlada Roslyakova dons extravagant designs from the Autumn/Winter 2012 Haute Couture collections for the September 2012 issue of Vogue Netherlands, as captured by photographer Alique and styled by Martien Mellema. Wearing pieces by Elie Saab, Valentino, Chanel and more, Vlada brings each lavish design to life.
Dior couture fall/winter 2012 Make-up
Before she was a supermodel, Karlie Kloss was a professional ballerina.
Now the 19-year-old is channeling her en pointe roots in a behind-the-scenes glimpse of W magazine’s yet-to-be-released fashion shoot.
The athletic model slipped on her dancing shoes for photographer Nick Knight, while showcasing some of the most covetable couture dresses that walked down the runway just days prior.
Shot in Paris over two days right after the fall 2012 couture shows, W magazine’s style director Edward Enninful outfitted Miss Kloss in designs from the likes of Chanel, Dior and Valentino for its September/October issue
Evoking couture’s traditional majesty, hairstylist Sam McKnight and make-up artist Val Garland transformed the model into a fanciful and eclectic geisha doll.
In its soft shade of pink and thousands of beads, sequins, and crystals, Miss Kloss looks so poised and elegant in Elie Saab’s tulle masterpiece it’s as if the image, with her big black bow and yellow soft curls, came straight from a classical ballet rendition of Goldilocks and the Three Bears.
Miss Kloss, who studied dance at the prestigious Caston’s Ballet Acadamie in St. Louis, hascalled her classical training ‘a beautiful thing’ that taught her how to move in the modelling world, something she says, was great training ground for the runway.
With vintage as Karl Largerfeld’s theme, or ‘new vintage’ as he called it, Miss Kloss looked like an ethereal Marie Antoinette in Chanel’s grand couture finale, the Robe de Marriage.
Transforming Jean Paul Gaultier’ssilken kimono-styled eveningwear, Miss Kloss played up the designers decadent, romantic and polymorphous fashion sensibility posing legs-in-the-air on a French chaise lounge.
Filtering details from each coutureshow, like Raf Simons’ solid tapestry of one million fresh flowers that lined the salons of his debut couture show for Dior; Chanel’sless jeune fille, more grown-upand gutsy aesthetic; Elie Saab’s soft palette of pinks and blues, and adding Jean Paul Gaultier’s absinthe, coral, gold, and purple; the shoot creates its own magical set, the colours of Opium Dreams.
These Instagram pictures taken by Nick Knight give a small glimpse into the elaborate work and meticulous details that are involved in creating what appears on in the magazine to an untrained eye as simply an eight page fashion spread.
From separate lighting tests for each outfit, to a full production crew to organise each dresses complex journey from the Paris runways to the studio, and hour-long make-up and hair changes between each look, the shoot itself is just as detailed as the couture pieces it showcases.
backstage at Dior couture fall/winter 2012
Lindsey wixson backstage at Dior couture fall/winter 2012
Dolce Gabbana Haute Couture project fall/winter 2012
“not a red-carpet opportunity…[w]e’ve had clients cancel an order after seeing their dress on a celebrity.”
backstage at Armani Prive couture fall/winter 2012
Dolce & Gabbana couture: First look at the autumn/winter 2012 collection
Italian duo Dolce & Gabbana made an ambitious tilt at couture-level greatness by staging a select - and very hot - show to launch their new collection in Sicily.
Two atelier tailors, one multimillionaire client, and one fashion editor: never before have so many fainted at one fashion show.
This, though, was no cursory catwalk quickie. Conceived six years ago and in top-secret production for the past six months, it took place in Sicily over 36 sweltering hours from Sunday evening until the early hours of yesterday morning. Costing certainly several millions to stage, Domenico Dolce and Stefano Gabbana’s first-ever Alta Moda presentation was an elaborate campaign of seduction mounted to woo some of the world’s richest women into committing themselves to a collection with which the Italians plan to rival the long-established couture houses of Paris at the apex of fashion. As Stefano Gabbana said before the show: “When we started out 27 years ago, our dream was to become a maison like Chanel, old Chanel. And now, maybe, this dream is coming true.”
Three newspapers - The Daily Telegraph , Le Figaro and Corriere della Sera - were invited to cover this ambitious tilt at couture-level greatness, plus the editors from almost every international edition of Vogue . Yet all were only allowed admittance under strict conditions; no tweeting, filming or publication of any but a very few photographs of the show. And no surreptitious snapping of the designers’ celebrity guests, including Scarlett Johansson (in a lace sheath as snug as her Avengersleathers) and Stephanie Seymour (cantilevered strapless black-and-white polka-dot dress). The reason, explained Gabbana, “is not because of us, but the customers. They really do not want to see their dresses in a magazine.”
Some 80 of these customers-cum-collector women travelled by private jet from Qatar, Russia, China, the US, Germany and Japan to attend. And while a few of them were happy to quantify their couture collections by the metre, most were decidedly not.
By Sunday, when all the guests had arrived via a fleet of black Mercedes to Taormina, Dolce & Gabbana’s 35-strong tailoring team were applying the collection’s final touches - Venetian material spun from gold, earrings dripping with blossoms and rubies - and it was so hot that two had fainted.
Then, that night, when the event began with a launch of Bellini’s Bel Canto operaNorma in the ancient Roman amphitheatre, the fashion editor toppled, too. She fell (elegantly) to the floor just in front of the orchestra pit. First aid was provided by a doctor dressed as a druid who happened to be in that evening’s chorus. He prescribed ice-cream, and she soon recovered. Later, on a terrace facing Mt Etna, guests picked at a 30ft long trestle table heaped with Sicilian sweetmeats, watched an outrageous firework display set to Verdi’s Valzer Brillante , and danced.
By Monday evening, at the former monastery of San Domenico where the show was staged the reason for the guest’s luxury immersion-course in local culture became clear. Where Parisian couture riffs on French cultural tradition, this Alta Moda would look to all things Sicilian, from the ornamented excess of its Baroque period to the dress worn by Claudia Cardinale when she dances (to that same Verdi waltz) in The Leopard . Domenico Dolce, who was born on the island, said: “This is our style. It is not trend, I do not care if it is cool. Prêt-à-porter is different, it is about cool and how many covers will we get this season. Here, we are completely free. So for me this is not work but pleasure.”
Yet the proof of the cannoli is in the eating: however sentimental Dolce & Gabbana’s Alta Moda journey, it will need to sell to survive, and to be loved by its clients for the designers deem it a success. From what we could tell, it already has sold. One Russian buyer, unable to attend, ordered several of the 73 dresses - each costing tens of thousands of pounds - on the basis of photos sent by email. The Chinese - despite many missing the show because they were having their make-up done - also proved enthusiastic, as did a Qatari woman who finds it convenient to acquire couture 10 dresses at a time.
This, at least, was the gossip at the post-show supper from which, one at a time, the clients were invited backstage to browse the collection. Early yesterday morning Dolce was still at the party, dancing to Madonna with the gusto of a man whose job is done, while Gabbana had returned to his private yacht moored in the bay.
That fourth fainter, who fell at the beach on Monday, also made a full recovery, and expects to be invited to the second Alta Moda show, planned for Shanghai in November.