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top 5 moments from autumn/winter 14 couture

Couture is fashion's 'go hard or go home' equivalent. If you're a fashion obsessive-lover-diehard (or not) it's the closest clothes ever get to sending us to nirvana. The work and the craftsmanship culminate in grandiose works that belong in their own sublime sphere of beauty. This year they did the same, naturally, but something felt grander, better, faster… fresher? There were romantic fat sandals, jumpsuits, baggy trousers and smiles all round. It was fresh, and fluid and fun - something that has perhaps been missing from couture for a while. Yes, couture is the stuff of dreams and these collections were a new dawn of dreaming.

Text Bojana Konzarevic
Photography Mitchell Sams

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  • dior's historical space age

    Raf Simons' collection included cargo trousers, jumpsuits and some amazing Edwardian-esque drop waists. It was a wealthy mix, similar in conviction to his autumn/winter 13 couture that sizzled of an international menage a huit. The beauty was showcased through a variety of shapes and centuries, in colours of rose pink, white and black. From romantic odes to the queens of the stately past, there were also the new space-age hot mommas in the chicest trousers possible. Zips! Bagginess! Yet controlled, coutured and dreamily realistic. Who thought a jump-suit would ever be couture? Simons did. If there are more and more fashion weeks, so there are less and less rules. Let us rejoice for the most expensive trouser we will see on the catwalk - comfort couture is the chicest thing around and Simons' Dior new rulebook is slowly becoming bible worthy.



  • chanel goes baroque

    Chanel's 18th century, Baroque inspired show was another show that incorporated an urbanity (for want of a better word) within it. Shorts peaked out underneath skirts, taking further the sports energy of last season's Chanel kneepads. The flat sandals were a genteel and simplistic refinement to the more complex gowns. And why not? Just like Simons and Dior couture, Lagerfeld has redefined the idea of strict elegance - or actually just perhaps thwarted it? Chanel herself was always about freeing the woman from the constraints of the basque, of the repressive materials on the body. Couture shorts - why not? After all, we will all be wanting to team them with Nikes. And a preggers Ashleigh Good closing the show? A real woman in real time. It's all proof that Kaiser Karl understands us better than we understand ourselves.



  • schiaparelli's surreal songs

    The delectable Schiaparelli catwalk glistened in its leopard print prowess, ready to hold the uber-Zaninified collection of 70s wide-legged trousers, strong-ass shoulders and surrealistically sensual prints. The embroidered playsuits evoked a Dali-esque/Marrakech dream world, with embroidered flowers and butterflies. Dream dream world!



  • viktor and rolf's red blooded women

    Viktor and Rolf's red world was ablaze with complex cuts and shapes, all from red carpet. Was it a way to manipulate that what we all dream of walking on? Was it a way to destroy it and show our bodies conduct the carpet rather than vice versa? Only Viktor and Rolf are capable of posing such questions through their couture, and the fashion world is richer for it. There were still the playful nuances of the bows, of the shaved zebra print in the carpet, but they were also there to prove that Viktor and Rolf couture stands for the message. If this season was fresh, then Viktor and Rolf's take on material was fresh proof that they can make their message known in any language possible.


    viktor and rolf

  • margiela's masterpieces

    The world of Margiela stuck to the artisanal code of reusing, rehashing and reliving and produced a collection with a loving softness. Oriental prints and silks were merged together, masks were colourfully embroidered and the lengths of the skirts and floor sweeping dresses were a lovely, dramatic flourish. And what's more lovely than an embroidered 'I love you'?


    Maison Martin Magiela autumn/winter couture 14