Haute Couture SS14 Part I

Schiaparelli, Versace Atelier, Dior, Giambattista Valli, reviewed. 

Text & GIFs: Leonidas Liolios


The re-opening of the iconic house of Schiaparelli was quite a moment in the calendar of fashion worldwide. And it has been the most exciting of news lately, taking under consideration the fact that Elsa Schiaparelli was apart from a visionary, the one and only blacksmith behind the merging of fashion and art. Its debut collection though, that under the name of former Rochas creative director, Marco Zanini, wasn’t. At least not as a whole.¬†Other than some scarce, miss-placed references, the pink carpet at the entrance, the hair and make-up and Stephen Jone’s extraordinary headwear, the show was more of a bad imitation than genuine creation. And then too pret-a-porter for couture. Too much effort put into it. A few misfitted models. Under-exploited technological and technical means that could speak Schiaparelli Surreal in a very modern way. An overall outcome that wasn’t needed nor missed, and was for sure not expected nor welcomed by all the Shocking Pink lovers.



Donatella and Lady Gaga not only teamed up for the SS14 campaign of the pret-a-porter line but went all the way to making Atelier Versace an ARTPOP revolution of gold and lilac. Blurring the lines of couture while keeping the beading in place, Donatella sent Halston-esque gowns and suits down the runway in silk-satin flowing fabrics, with futura x tribal graphics. Gaga, who by the way is part-Italian part-American was present and all dressed up in Atelier Versace, sitting next to friend and “ally” Riccardo Tisci at the front row. Italians united situation.



Raf Simons is one of these designers that manage to respect the identity of the house they design for while lifting the esprit in a very modern/updating way. And this is the key to success amongst a fashion-nostalgic crowd that after all the Galliano alterations, came around and decided that tradition is the new logomania. For Dior‘s spring/summer 2014, Simons re-explored the 60s, in a navy blue, white and black palette. Either with adding beads, or making patterns out of cut outs, he gave the collection a couture essance that was as lavish as it was approachable. A lovely show, homage to a house that made its couture an international landmark.


Giambattista Valli was shockingly off-the-point this season. A miss-fitted collection of mal-combined pieces that was for sure not couture worthy, in an attempt to combine different shapes all-together. Other than that there were a few great pieces, still-not-so genuine, that lifted the whole look of the collection, and offered it mixed reviews.