“I want to show what I love, what I really love.” So before declaring Maria Grazia Chiuri, he sent out all the white celebrations of Rome, out of one heart. Women in the audience were asked to wear white clothes, and Villa Albani had gathered to look at the magnificent formal gardens of Torlonia. We were fearing a Kreeskendo, a grand closing ceremony of a show of the feminist standard-as Base Rani’s homecoming Queen.
In fact, what we got from Chiuri was a resort show in which a cotto is mixed with collection, the most romantic and delicate for part. The emphasis is on ‘Looks,’. For the designer, it was an enacted with autobiographical meanings, cultural nuances – a bit nonsense of rubbish – and historical symbolism. And – she was already laughing about this in the tented backstage sector – it was intended to deliberately confuse. The 1960s had a novel set La Bella confusion, a novel that was one of the many people involved in the show and its production. “A beautiful confusion,” she was amazed.
Well, you do not need to spend half a day in Rome to realize how it is, layered and cross-cross that is with archeology and history. Chuiri said, “In the part, that she was attracting attention to the role played in fashion by her city – as Dolce Vita of the fifties, the glamorous heidi of the Cyneitta film industry, and the glory of Valentino and Fandy, for both, they worked for both. At her top, she was celebrating the life of Avant-Guarde Arts, Mm Pecksi-Blant, the life of the hostess and the guardian. (Chiuri and his daughter Rachele have just restored their theater, Titro de comta.)
You can see why Cheruri can identify with mm. In many ways, in nine years in Dyer, she has also been a tireless supporter and ally of female artists, artisans and artists. On this night, he had a white dress in white by local dancers by Roman film Costumers Tirel-a comedia del’art-cum-soul-sakedish-soulless ballet had a comedia del’arte-kam-samcalain ballet around the ballet. This, in the context of Mm’s “Bal Blanc”, took place in Paris in 1930. All the guests wore white and were photographed by Man Ray, while they were tyrannical as historical figures.
This is why we began by looking at four long, thin, beautifully equipped double-faes Kashmiri Encyclops. “These are Haute Coutures,” he said. “You can only make them by hand. Some of the simplest things are the most difficult to make.” This ideal, minimal yet luxurious simplicity occurred after several variations on the topic of long, thin, semi-sheer dress. The lace effects were almost countless-3D florals, rafles rivals, leafy cut-outs, wavy art deco frills, gold water covered with latiswork silcaine fringe-and much more, and more. Underwear visible, shoes flat.
