Monday 14 February 2011

Fabulous Flip Flops …

 

An iconic Valentino bow adds feminine flavor to playful, yet sleek PVC.

Almost too stylish to be called thongs! A sculptural bow sits atop a thong strap.

These Italian made  Valentino Bow Jelly Thong Sandals are so beach perfect.

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Sunday 21 November 2010

Lace & Tulle Shoes make my heart sing

 

“I am usually working on the head and then to move to the foot is a whole other dimension. You can’t have the same fragility, because models walk like racehorses and kick them together. And then something very delicate is in tatters — but actually, it looks quite good in tatters!

Milliner, Philip Treacy

He might be a newbie when it comes to designing shoes,

but this inaugural collection of shoes from

Valentino’s Spring / Summer 2010 show during Paris Fashion Week

is hopefully the beginnings of many beautiful shoes.

The mostly black shoes and some in cream,

the shoes are wearable art for your perfectly pedicured toes.

Elaborately embroidered netting cascaded down the heels like wings causing a feast for the eyes.

The wispy footwear was truly spectacular.

I cannot wait to see more footwear from this famed hat maker.

Delicate satin and lace beauty.

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Saturday 20 November 2010

To sequin or not to sequin: that is the question.

 

Valentino: The Last Emperor

is a fascinating look inside the legendary fashion designer’s final year before retirement.

Matt Tyrnauer lifts the curtain on Valentino’s gorgeous, frantic and fragile universe.

It takes you behind the scenes of haute couture and also gives a glimpse into three of his six beautiful homes.

I love beauty. Is not my fault.

I love dresses,

but I’ve always thought that to spend $50,000 on a single dress was unjustifiably extravagant.

After seeing the movie, I re-accessed my thinking and buy cialis 5 mg thought that I’d buy  just one!

{It’s not a dilemma I am confronting.}

A few movie tidbits:

* Valentino travels with an entourage of six pugs in harnesses that allow them to be picked up like purses.

* The designer, 75 at the time of filming, loves to ski.

* No other designer has designed for his/her own line for 45 years.

* Giancarlo thinks Valentino is too tanned.

* He and his partner of 45 years, while both Italian, speak to each other in French.

* Head seamstress is a stressful, demanding job.

* Models stand in a room wearing nothing but a g-string while a crowd around them drape their frames in cloth.

* When Valentino throws a party, Gwenyth Paltrow, Elton John, Joan Collins, Liz Hurley & Michael Cain show up.

* Not struggling for cash, Valentino has six mansions, a private jet, a yacht and … a butler for the pugs!

* A Valentino haute couture dresses is made with hand stitched detail.

* The clothes move beautifully.

The Atelier in Rome

Where his white-coated seamstresses shape the clothes in their care, worrying over the placement of a pleat or sewing a constellation of sequins across the bodice of an evening dress. Everything here is hand-stitched.

Sewing machines were ordered at one point in the fashion house’s history, we’re told, but nobody ever used them. Valentino designs but these women perfect – with a purity of intent that went out of style long ago in the rest of their industry.

The drama of couture sewing workrooms is wonderfully captured.

The head seamstress goes into her own tempest when a gorgeous cocoa-colored evening gown seems to have what she considers to be a poorly-sewn bust. With ripper and needle, she goes to work herself, saying it is a whole day’s work, and when others try to interfere, she storms off with cocoa chiffon trailing and catching behind her.

Valentino throws one real hizzy fit — it’s over the hair of the models, which the hair-dresser wants to make into a huge frizzy bush, while V. wants severe buns. He doesn’t become violent. He just exits, crying no-no-no-no!

The great peacemaker is Valentino’s partner, Giametti.

The Lovers

The underlying love story between Valentino and safe places to order cialis his partner Giancarlo Giammetti

is an unexpected revelation and shows the honesty of the film.

They lovingly bicker over dresses, fashion-show sets, and which café they first met at.

Valentino and Giancarlo met in Rome in 1960 when they were both in their twenties. They quickly went from friends to lovers, and it was decided that Giancarlo would run the business side of the company, while Valentino would stick to the designing. One of the most romantic aspects of their partnership? If you added up the days apart since they first met, it would only equal two months.

No one understands Valentino like Giancarlo, and when he was asked “what its like living in the shadow of such an influential man?” His response was simply, “happiness.”

Rome: la dolce vita (1959-1962)

In 1959 Valentino left Paris and moved back to Italy with his lover, French socialite Gerald Nanty and opened a fashion house in Rome on the posh Via Condotti with the backing of his father and prescription viagra in us an associate of his. More than an atelier, the premises resembled a real “maison de couture”, being it very much on the line of what Valentino had seen in Paris: everything was very grand and models flew in from Paris for his first show. Valentino became known for his red dresses, in the bright shade that became known in the fashion industry as “Valentino red”.

On 31 July 1960 Valentino met Giancarlo Giammetti at the Café de Paris on the Via Veneto in Rome. One of three children, Giammetti was in his second year of architecture school, living at home with his parents in the haut bourgeois Parioli section of Northern Rome. That day Giammetti gave Valentino a lift home in his little Fiat and a friendship as well as a long-lasting partnership started. The day after, Giammetti was to leave for Capri for vacation and by coincidence Valentino was also going there so they met again in the island 10 days later. Giammetti would shortly after abandon the University to become Valentino’s business partner. When Giammetti arrived, the business situation of Valentino’s atelier was in fact not brilliant: in one year he had spent so much money that his father’s associate pulled out of the business, and had to fight against bankruptcy. Giammetti’s entrepreneurial genius will prove fundamental to the worldwide expansion and success of the House, with him Valentino was able to focus on the creative aspect of design leaving all business intricacies to his partner. Valentino already had a passion for luxury and would spend too much money on expensive fabrics never thinking about the financial aspects of his fashion business.

Valentino and Giancarlo are the kings of high living.

Every other designer looks and says, ‘How do they live the way they do?’ I don’t think they made the money that Valentino and Giancarlo did, because Giancarlo knows how to make money. If they did, they didn’t spend the money like Valentino. No other designer ever did. When the terrorism first started in Rome – the period when the Red Brigades were kidnapping people – Valentino was riding around in a bulletproof Mercedes. And do you know what color the Mercedes was? Red. My God, I thought, you must want to get blown up. John Fairchild

The Legendary Couturier

The dresses are presented in depth (esp. a white one & a filmy red one) are floor-length or just a tiny bit longer.  The red one offended him because it was thin enough that even with two layers of material, the model’s legs could be seen in outline. Another one, sent back for redesign, was just short enough that the model kicked it up a bit when she walked, which revealed her ankles.

“There is nothing so disgusting as seeing a woman’s ankles revealed when she walks!” he raged. Nor was he tolerant at the top end. A socialite is wearing a flatter-fronted model’s version of a low-cut gown. “Darling, your boobs are falling out,” he remarks critically.

He likes asymmetry, surprise, even near-incompletion, as in the famous white dress, columnar, impossibly pleated in a mille tiny creases which are interspersed with ruffles that start tiny at the top and sales cialis become wide at the bottom, cascading scallops that ripple like water when the model moves. There was much discussion of whether silver sequins should be added to the ruffles. They were, in an edging that was a little tricky since one ruffle tended to catch on another. But that was not so controversial as Valentino’s decision to leave two of the ruffles off. Just spaces where they would have been. The less sophisticated of the critics thought it looked like an omission, a deficiency.

Valentino thought it was playful, a way of not going “over the top.”

Finally, flouncing away in a fit of resentment, he allowed the ruffles to be added.

But they weren’t HIS fault!

Milton, Monty, Maude, Margot, Maggie, and Molly

Valentino says: “I don’t care much about the collection. My dogs are much more important!”

Valentino after a frustrating day at the office, complete with six pugs getting caught up in evening dresses.

He later cleans the dogs’ teeth.

The supporting stars of The Last Emperor are the legendary designer Valentino’s six pugs

~ Milton, Monty, Maude, Margot, Maggie, and Molly.

Valentino takes his pug babies with him everywhere.

They fly on private jets and have a dog butler.

Valentino adores dogs to the point that he once named a second line of clothing after his late pug Oliver. Today Valentino owns six pugs: the mother, Molly; her sons, Milton and Monty; and her daughters, Margot, Maude and Maggie. When traveling on his 14-seat Challenger jet, three cars are needed to move Valentino and his entourage to the airport: one to move Valentino and Giammetti, another for the luggage and the staff and a third to transport five of six Valentino’s pugs as one of them, Maude, always travels with Valentino.

After take-off Maude is released by a butler. She runs forward and jumps up on Valentino’s lap, but before she can settle in, another staff member appears with a light-blue linen cloth, which he unfurls and want to buy paxil at cheap price placed under the dog to minimize the effects of shedding. At lunchtime Maude is returned to her fellow pugs. And there’s somebody in charge of brushing the pugs teeth.

The movie inspired the Valentino The Last Emperor‘s Most Fashionable Pug contest held in New York, and was judged by Mr. Valentino himself! Many runway-ready pugs were entered the contest.

Roma Celebrations

The two men blew a quarter of a million euros on a spectacular festival event in Rome. With a red-washed Coliseum in the background, and the most fabulous dresses on mannequins suspended in rows on the walls of an enormous hall, the evening sky was occupied by dancers suspended in the sky, dresses twice as long as they were, trailing beneath them as they swam back and forth, scattering roses while rockets bloomed through the sky behind them and Callas’ voice filled the twilight with arias. The finale was a hot air balloon, ascending with a woman in white floating underneath. As Valentino said, it was “unrepeatable!”

Valentino stopped at the beginning of festivities just long enough to give Gianini a gift: a very thin bangle of diamonds which Gianini was careful to expose to the camera whenever it looked for him. The camera also caught the glitter of both partner’s eyes, flooded with love and gratitude for each other. It was theatre — no, it was opera.

Valentino’s Swansong in Rome has more details on the three day extravaganza.

The fashion finale in Paris ~ Valentino says ‘adieu’ after 45 year career

A blaze of emotions, elegance, fashion, celebrities (such as Liucy Liu, Uma Thurman and Claudia Chiffer)

for the finale a blaze of red ~ Valentino’s Haute Couture fashion show,

with which the famous designer said goodbye to fashion.

Valentino kept his devoted fans waiting until the very end of his last-ever haute couture show for a glimpse of his signature red. Just when it appeared to be all over, images of a row of models in Valentino red were projected onto the back walls for the entire length of the runway and all the show’s 30 models came out wearing identical red gowns.

The 74 dresses that was shown on the catwalk celebrated, each one, the life and the story of the maison and buy cialis uk his founder from the Sixties up to the present.

Naturally, the lead-up  to the Haute Couture S/S 2008 show wasn’t without its dramatic moment. When Valentino sets eyes on the stage set, just hours before the impending fashion show, he responds unhappily to Giammetti:

“The sand dunes look like two tits”

An emotional Valentino appeared for his lap of honour,

blowing kisses to the crowd as they gave him a standing ovation.

Val’s gals, as his loyal customers are known, turned out in force for the show – the most glittering event on the calendar in couture week, held in a giant marquee in the grounds of Paris’ Rodin Museum. Banks of photographers jostled round the entrance to snap the late arrivals – not just celebrities, but dozens of ultra-elegant unknowns, many fellow Italians, wearing Valentino in homage to their favourite designer.

Among the 800 guests who packed the show were fellow couturiers Miuccia Prada and Emanuel Ungaro, former top models Eva Herzigova, Claudia Schiffer and Nadia Auermann, a spattering of minor European royalty and Farah Dibah, the widow of the last Shah of Iran.

The Haute Couture S/S 2008 collection

Valentino’s Dazzling Chateau Party Closes Couture

At the Chateau de Wideville, Valentino’s Home Near Paris

In a spectacular sendoff to Paris couture week, Garavani and Giancarlo Giammetti hosted a few hundred bold-faced names, from social powerhouses like Bethy Lagardere, Susan Gutfreund, Lee Radziwill and Georgina Brandolini to young starlets like Jessica Alba and Leighton Meester, all agog at the setting.

As Gwyneth Paltrow entertained the kiddies, Giammetti rushed to embrace Jane Fonda, who exclaimed that she couldn’t wear some of her treasured Valentinos anymore “because I’m too strong,” she said, doing a mock bicep flex.

As the dance floor filled up and where can you buy levitra cheap the buffet tables were spread with tiramisu, Garavani, trailed by a butler, wandered around cradling one of his precious pugs.

“It’s nicer than my barn,” sighed Elizabeth Hurley Wednesday night after touring the new Valentino Garavani Archives, housed in one of the more humble – yet still impressive – outbuildings of the retired couturier’s sprawling Wideville estate. “Now I must go look at the gardens.”

“One has to take time to smell the roses,” agreed Claire Danes, in a flutter of couture ruffles, referring to one of Wideville’s many marvels: an estimated one million blooms nestled amidst sculptured topiaries.

“I want to see the house more than anything,” Marc Jacobs said lustily about the eight-bedroom, Louis XIII-style chateau, which was lit up in fuchsia as guests wound their way through verdant lawns, over the moat and towards a clear tent set up for a buffet supper and, later, dance party, with none other than DJ Jesus – as in model and off-and-on Madonna squeeze Jesus Luz – spinning twisted electro.

“Who needs a fashion show? Everybody’s here,” quipped Vogue’s Anna Wintour, leading Blake Lively on a tour of Garavani’s new private museum, its first exhibition showcasing thousands of original sketches.

Chateau de Wideville

His castle on 120 acres in Davron, about 30 minutes outside Paris was bought in 1998 and was meticulously restored by the late Henri Samuel, the dean of French interior design. The castle had been previously decorated by the late Renzo Mongiardino, the greatest of the Italian decorators, who also worked on Valentino’s Roman villa and Giammetti’s Tuscan house. Built circa 1600, the castle was once the home of Claude de Bullion, the finance minister for Louis XIII, who slept at Wideville, according to a plaque in the castle, on January 22, 1634. During the reign of Louis XIV, Madame de la Valliere, one of his mistresses, lived at Wideville. Her bedroom, a mirrored-walled chapel with a 30-foot (9.1 m)-high ceiling, was converted into a bathroom.

Homes around the globe

Valentino owns marvelous villas and apartments around the world, all boasting an extensive array of art pieces. These are: Palazzo Mignanelli near the Spanish steps in Rome and a villa on the Via Appia Antica, a major historical landmark of Rome, Chalet Gifferhorn in Gstaad, Switzerland.

Valentino has an apartment near the Frick Museum overlooking Central Park, New York and one of the largest private houses in London’s Holland Park, a 19th-century mansion whose centerpiece is the grand salon, which features five late Picassos. The breakfast room is lined with 200 Meissen plates, and the small salon has two Basquiats and cialis professional cheap for sale a painting by Damien Hirst. His villa on the cliffs of Capri has recently been sold.

Valentino also spends much time on T. M. Blue One, his hundred-and-fifty-two-foot long yacht boasting a full-time staff of eleven, and a selection of art ranging from Picassos to Andy Warhol. He frequently visits Giancarlo Giammetti’s residences: the penthouses in Via Condotti in Rome and on the Quai D’Orsay in Paris, or the country estate in Cetona, Tuscany.

A Perfect Life: Around the World with Valentino a 30 minute DVD takes us inside Valentino’s homes around the world, revealing the unique lifestyle he’s created for himself and the amount of work it takes to maintain it. We follow Michael Kelly, Valentino’s Irish majordomo, as he prepares a lavish party at Chateau Wideville, Valentino’s estate outside of Paris. In the style of Robert Altman’s Gosford Park, we go back and forth between upstairs, where Valentino entertains his guests, and downstairs, where Michael Kelly directs the army of waiters, chefs and maids. In a second chapter, we fly on the private aircraft with Valentino and his entourage to Gstaad for a vacation at the glamorous ski resort. Lastly, we discover Valentino’s residence on Fifth Avenue, as Valentino visits New York for the Costume Institute Benefit Gala.

“The luxe, rara avis world of the Italian couturier and fashion designer…

fused with wit and self-deprecating humor. With great style and editing, the film captures the deep-seated relationship of two men, one a business genius and one a dressmaker who swept through the sixties on the hems of his delicate, feminine suits and where to buy viagra online fine evening dresses, favorites of Jackie O and Elizabeth Taylor.

(Tyrnauer) took a difficult subject – a fashion brand and its founders

– and told the story of how fashion as art has to bend to the winds of commerce and modernity.”
– André Leon Talley, Vogue

Humanizing an Icon: “Valentino: The Last Emperor”

The film covers the run-up to Valentino’s retirement mid-way through 2007. Tyrnauer, a writer for Vanity Fair, spent the best part of two years following him and Giammetti with his camera, so we float around with them in the scented bubble that constitutes their world.

Interview with  Director, Matt Tyrnauer for indieWIRE

how did the idea for this film came about?

I have been looking for a willing subject for a film for years. When I met Valentino, having been sent to interview him for a Vanity Fair feature, I saw a character who was a strong candidate for the big screen. He’s an icon, and a creative genius, and a larger-than-life figure who lives a kind of bubble life—he exists in a special world, where perfect living is the name of the game and he does it very well indeed. When in Rome, I also was surprised to find TWO people: Valentino and his partner in business (at, at one time, in life) Giancarlo Giammetti. They have a relationship unlike any I have ever seen before. It’s unique. People frequently say, Valentino and Giancarlo, it’s like a marriage. Well, I’d say it’s MORE than a marriage. It’s a supernatural bond that has lasted for 50 years. They are part of the same person, really. So close, and so inter-dependent, I wanted to try to capture that friendship on film. That is what the movie is really about: Fashion is the backdrop. It’s a kind of relationship movie, a love story, if you will.

elaborate a bit on your approach to making the film.

Anyone who makes a direct cinema move is indebted to the Maysles brothers. I admire their movies very much, and, especially “Grey Gardens.” I have a wonderful, brilliant friend and editor at Vanity Fair, Wayne Lawson, who has for years helped me make stories clear and clean, and who believes in letting the story tell itself. Letting people talk is a great way to get a story across, and then taking away the excess to pare it down. Wayne once mentioned that he thought that “Grey Gardens” was the model for this kind of story telling, and I agree with him. The Maysles let Big and no prescription cheap viagra Little Edie tell their story in the most elegant way. Graydon Carter, another amazing mentor, used to tell me “just let them talk” before going to report a story. Great advice.

what were some of the biggest challenges you faced in developing the project?

The stars of this movie are major figures and Valentino commands star treatment, and deserves it. He’s an icon. As can be seen in the movie things did not always go smoothly on the set, and I included some of the cyclone-force tantrums on screen. It makes Valentino more human. He is a hand full, and there was no reason to hide this, because it’s part of the process and it’s part of who he is. He is a very nice man, and a genius at his art. But he is also a perfectionist and he has the disposition of a – as he would say – the toro, the bull, his star sign. So, you get these heated moments. He and Giancarlo also fight, like all great partners. We have some prime examples of that as well on film. So, they were a challenge to work with and it took a lot of time and work to get to where we wanted to go.

how was the film financed?  Private equity. We were very lucky to have great financiers.

Matt Tyrnauer is a New York-based writer and filmmaker. He has worked for Spy magazine and The New York Observer, and is currently Special Correspondent of Vanity Fair. His book Una Grande Storia Italiana: Valentino Garavani was published by Taschen in 2007. Valentino: The Last Emperor (08) is his first feature documentary.

{Images & sources: wwd.com ~ eyescoop; your new fragrance; indieWire}

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Wednesday 17 November 2010

A Luscious Tribute to Valentino

 

silk serge gown with handpainted coral motif  by photographer Ruven Afanador

For almost 50 years, Valentino created exquisite and coveted designs for both pret-a-porter and Haute Couture. Based in Rome, his was the first couture house outside of Paris to be recognized by the French government, and his contribution to fashion is recognized in a fabulous Rizzoli publication, Valentino: Themes and Variations by Pamela Golbin. It catalogues the designer’s most beautiful looks from all the way back to the 60s, to his last collection in 2008.

Published in association with an exhibition at the prestigious Les Arts Decoratifs in Paris,Valentino: Themes and Variations explores the coutourier’s recurring motifs – variations on the ideas of line, surface, and volume, as well as geometry, pleats, and flowers – through photos, sketches, fabric samples, and striking editorial images.

“I think a couturier must establish his style and stick to it. The mistake of many couturiers is that they try to change their line with every collection. I change a little each time, but never too much, so as not to lose my identity.” Valentino

Francois Halard photographs from Spring 2008 document Valentino’s backstage fittings for his final couture collection and reveal the intensity and passion that contributed to making his shows so perenially popular with editors, socialites, celebs, and fashionistas. Valentino Garavani and Giancarlo Giametti reviewing dress rehearsal for Spring 2008 Couture Collection. Paris.

Behind the scenes preparation for Valentino’s last collection.

It’s about details, craftsmanship, and timeless design.

This gorgeous hardcover coffee table book is a catalogue of Valentino’s most beautiful and famous dresses. The book has minimal text, which is entirely appropriate as the clothing speaks for itself. There are some great backstage shots with models like Natalia Vodianova and Sasha P as well as shots of seamstresses putting together the clothes. Some sketches of the dresses and the finished products are shown side-by-side.

Valentino writes a short introduction and there is a biography of him at the back of the book, followed by photos of the designer’s numerous campaigns. The book features the designer’s work in chapters entitled “Themes” ~ Ornamentation; Technique and  ”Variations” ~ Line; Volume.

It’s a beautiful book for anyone who loves Valentino or for anyone who appreciates haute couture.

A young Valentino Garavani perusing his first collection (Spring/Summer 1959)

The book spans Valentino’s entire career and is full of beautiful images of the designer’s exquisite creations over the years. It has a particular focus on the many intricate techniques employed by Valentino to embellish his gowns accompanied by crisp detail shots highlighting the fine craftsmanship that distinguishes haute couture frompret-a-porter. The book also chronicles Valentino ad campaigns over the years many shot by world class fashion photographers and featuring familiar faces such as a young Anjelica Huston (Spring/Summer 1972).

The tomb of eye-candy features images by the worlds best fashion photographers who have captured Valentino’s dresses for magazine editorials and portraits of supermodels and Vals girls.

“Christy-Valentino, Le Grand Hotel”
Photographed by Walter Chin, Italian Vogue, March 1993

There are so many beautiful images…..

{Images & sources: fashion tribes; the peak of chic}

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Wednesday 17 November 2010

Valentino’s Swansong in Rome

 

45-year love affair with glamour

“La Dolce Vita”

was the spirit of a Roman weekend in 2007 when Valentino threw a red extravaganza ~ the soundtrack of Fellini’s iconic 1960 movie kicked off Valentino’s couture show. The designer had come back from Paris to his home city and he embraced it with a light spirit and deep opulence.

Rome hadn’t seen such a bright red carpet in decades, probably since the ‘Dolce Vita’ 1960′s, which coincided with the beginning of the 75-year-old designer’s career, as golden boy of the international jet-set. Moving to Rome in the early 1960s is where Valentino found success. This period coincided with an era of Roman glamour – La Dolce Vita – that the mayor, Walter Veltroni, was keen to recapture. Veltroni gave his full support to Valentino’s celebrations, permitting the use of historic venues such as the Santo Spirito in Sassia, founded in 727 as a refuge centre for pilgrims to the nearby tomb of the apostle Peter, and the Galleria Borghese.

To celebrate the 45th anniversary of Valentino’s career a fashion extravaganza took place in Rome, 6 – 8 July 2007. Festivities started on Thursday 5 July with a dinner for Valentino’s assistants and employees at Ristorante Gusto and ended on Sunday 8 July with the launch of a perfume and a brunch at the French Academy of Villa Medici.

The main five exclusive golden invitation cards were sent

from the Valentino headquarters for the weekend’s events:

Friday 6 July 7:30pm   The Exhibition inauguration ~ Valentino a Roma: 45 Years of Style Museum of Ara Pacis, via Ripetta Designed by Patrick Kinmonth and Antonio Monfreda, the ancient sacrificial altar Ara Pacis showcased Valentino’s most important creations from the past 45 years.  A giant red glass cube encasing one of his earlier dresses,greeted guests who then entered the exhibition featuring 300 of his designs in red, black and white on mannequins. Valentino had gone through his archives and his clients’ closets!

Friday, 6th July 9:30pm Opening Night Dinner Temple of Venus, in the Imperial Forum via San Gregori

Dating back to 135 A.C. and dedicated to Emperor Hadrian the forum had never been opened to any event. The retrospective exhibition of Valentino’s designs illustrated the timelessness of his designs and featured the best gowns from almost half a century.

Saturday, 7 July

This is the day Valentino asks his women to change their clothes four times, and they could not be happier. We start with the cool casual breakfast/shopping/sightseeing outfit, move into the day- time chic lunch ensemble, change into a late afternoon cocktail dress for the show, and once more redo ourselves head to toe, pouring our bodies into ball gowns for the gala–my idea of a perfect day.

1pm Marina Palma’s Lunch for Valentino at Dal Bolognese Overlooking the Piazza del Popolo

Socialite and long-time Valentino fan Marina Palma took over the fashionable Bolognese restaurant for a tribute lunch before the international guest list set off for the designer’s bravura couture runway show.

5.00 pm: Fashion show for 1000 people ~ presentation of the Fall-Winter 2007/08 Couture Collection Complesso Monumentale S. Spirito in Saxia, Borgo S. Spirito 1

For the first time after 16 years Valentino’s Haute Couture fashion show did not take place in Paris during the HC fashion week but in Rome. He unveil his 2007 Fall collection of 61 outfits in the medieval Santo Spirito in Sassia church near the Vatican. The 15th century Complesso Monumentale Santo Spirito, is a former medieval convent that consists of 2 large halls with frescos and 2 cloisters. This collection showcased the designer’s best tricks: the precise nip of a waisted jacket, the opulence of a dress rustling with jet beads and trimmed with ostrich feathers.

9:30pm Gala Dinner and ball at Galleria Borghese-Via Pinciana

A gala ball in the Galleria Borghese followed the fashion show, with a ballgown-clad passeggiata beneath the Caravaggios, and culminating in a dinner for 1,000 guests. The Shanghai inspired fantasy marquee in the gardens, with palm-tree columns and red, black, and mirrored walls, was an installation by the cinéaste Dante Ferretti.

Sunday 8 July ~  Valentino launched the house’s latest perfume, Rock ‘n Rose Couture and a giant book. In addition to the celebration in Rome, a tribute book written by Vanity Fair writer Matt Tyrnauer will be published in July by Taschen.

Fashion Royalty Hailed its King.

Actresses Elizabeth Hurley and Sienna Miller wore ruffles and feathers to the ball.

Let the fantastic festivities begin!

A three-day, $10-million celebration of “Valentino a Roma: 45 Years of Style,” an exhibit that encapsulates grace and everlasting beauty. We are ready to rock’n'roll with the 1,000 European aristocrats, movie stars, socialites and journal- ists who are descending on The Eternal City hell-bent on living la dolce vita.

..the group I am traveling with–American industrialist David Koch and his gorgeous statuesque wife Julia, Prince Dimitri of Yugoslavia, Charlie and Sara Ayers and Brad Cosimar, the best friend of Valentino global PR maven Carlos Souza–check into the fabulously chic Hotel de Russie, which has terraced gardens inches away from the Spanish Steps and the 18th-century Palazzo Mignanelli, where Valentino’s Louis XIV-style office–and its 26-foot ceilings–is located.

In each guest’s room is a white canvas tote from L.L. Bean embroidered with endless red Valentino logos , and a note personally signed by our host. We get a detailed schedule of events, a book , aviator sunglasses and a gold plastic entrance card with our name, preferred arrival times at each event and the warning, “Sono di ri gore smoking e abi to lungo.” No one can get near a red carpet without this gold card, which is now worth gold.

Peggy Siegal: My Roman Holiday with Valentino

Valentino a Roma, 45 years of style

A major retrospective exhibition presented the glamorous life and work of Valentino Garavani. It celebrated his career of 45 years, and featured drawings, dresses, photographs, memorabilia and rare archive material. Vestals in scarlet dresses stretched their golden mannequin arms towards the Ara Pacis, or peace altar – a dramatic mise-en-scène. Fresh and spirited, it is viewed in streaming sunlight through the modernist glass box of the architect Richard Meier’s controversial museum.

A chorus of red-dressed women pay homage to the Ara Pacis,

an Altar of Peace, built for Rome’s first emperor, Augustus, between 13 – 9 BC.

It was presented at the spectacular Ara Pacis Museum.

Fresh and spirited, it is viewed in streaming sunlight through the modernist glass box

of the architect Richard Meier’s controversial museum.

The Ara Pacis was built to celebrate Augustus’s triumph return to Rome after an empire-building campaign in Spain and Gaul, and similarly the Valentino exhibition honors Valentino’s return to Rome.

For the first time in seventeen years, the emperor of style presented his new haute couture collection in the Eterna rather than in Paris. Just as the Ara Pacis – with its elaborately carved relief sculptures – was meant to celebrate the Golden Age and the peace brought to Rome by Augustus, so too the Valentino show is a reminder of the dolce vita years in which Valentino began his career.  Opera designers Patrick Kinmonth and Antonio Monfreda, designed and curated the retrospective who arranged mannequins in tiers or in choir-like groups.

Patrick Kinmonth, the British opera stage designer, and Roman Antonio Monfreda designed the installation. Hamish Bowles, European editor at large of Vogue, was the archival consultant who curated the 300 dresses. Giancarlo Giammetti, Valentino’s brilliant business partner of 45 years, one- time companion and confidant, oversaw everything. Entering the opening night of the exhibition is as thrilling as lighting the Olympic torch and winning the Oscar for lifetime achievement at the same time.

We ascend a huge, white marble staircase to be greeted and kissed by Valentino with Giancarlo at his side. At 75, Valentino is very slender, very tan, very coiffed, very charming and very, very excited. As he embraces every guest, he also makes sure the photographer gets the two-shot. We enter a dark tunnel with three tiers of mannequins wearing magnificent clothes and attached to sky-high walls. Next we are in a sun-drenched glass box that ironically illuminates evening dresses, which are also juxtaposed against dark Cyprus trees and a blue sky.

The symbolic centerpiece is Valentino’s white 1990 Peace dress

with the word peace embroidered in silver in 14 languages.

Valentino called every embassy to have them fax the correct spelling of “peace” in their language .

Red-clad, goddess-like gilded mannequins flank either side of the altar with their arms outstretched like a chorus of angels. We descend a staircase lined in a rainbow of colored gowns. Champagne is passed among the world’s most famous and beautiful women, who are dressed in Valentino they either own or have borrowed. Uma Thurman, Anne Hathaway, Elizabeth Hurley, Elle McPherson, Claudia Schiffer, Clare Danes, Eva Mendes, Sienna Miller, Natalia Vodianova, Cornelia Guest, Anna Wintour, Joan Collins and 80-year-old Gina Lollobrigida are just a few of the impeccably dressed women floating around. It is an overload of beauty. I don’t know where to look first.

The exhibition also has muslin dummies embroidered with movie stars names on the necks. These display Valentino’s most iconic celebrity dresses–the ones worn by Audrey Hepburn, Sophia Loren, Princess Diana, Julia Roberts, Cate Blanchett and Elizabeth Taylor–and video monitors play mini-movies, Oscar acceptance speeches or just grand entrances.

Peggy Siegal: My Roman Holiday with Valentino

Elizabeth Taylor gave Valentino his big break in 1961 by wearing one of his dresses to the Rome premiere of “Spartacus.” “When my press officer asked if she would mind having her picture taken with Mr. Valentino, she said: ‘Yes. Yes. Come, Rudy, but you will have to give me a dress for free,’ ” he says. “When she came for her gown, she chose the most expensive outfit of the collection.”

Every Valentino dress has its own such story, apparently, not just those selected for the show. And as Kinmonth, Bowles and Monfreda presented the edit of 300 outfits they planned to exhibit, “Valentino started remembering every dress — who’d bought it, who’d worn it, everything,” Kinmonth says. “And I had to say, ‘I’m sorry, I will do my absolute best, but we really can’t start to bring all sorts of things back in.’ ”

“I guess it was my sister’s wedding dress, when I first knew Valentino” said Lee Radziwill, referring to the girlish gown made for Jacqueline Kennedy’s Greek island marriage to Aristotle Onassis in 1968.

During the cocktail party for the opening, a guest, pointing to a silver dress edged in feathers, asked Valentino if it wasn’t a famous number once worn by Jennifer Lopez.

“No, that was Jackie Kennedy’s dress,” he said with a shrug. “We made Jennifer a copy.”

Farah Dibah, remembering the beige wool Valentino coat with sable collar in which, as wife of the former Shah of Iran, she had fled her country in 1979, said, “It was the most terrible day of my life – but I try to look forward.”

That coat is in the exhibition among a line-up of celebrity outfits on dressmaker’s dummies, each identified by an embroidered name as “Jennifer Lopez,” “Gwyneth Paltrow” or “Julia Roberts.” while a miniscreen shows virtual images of them picking up or attending an Oscar in a Val gown.

“I did all these dresses and they are like children for me,” said Valentino, 75,

looking at the twin groups of 33 red dresses spanning 40 years.

“I always believed so much in elegance and femininity,” he said.

“They could all be worn today – and that makes me very proud.”

The perennially tanned Valentino has a style  that is defined by clean lines, minimal detail, and elegant forms. It is these qualities of his that enabled him to dress movie stars, globe-trotting socialites and European royalty including the late Princess Diana. He designed the wedding gowns of two Onassis women: Jacqueline Kennedy for her marriage to Aristotle Onassis and Athina Onassis.

All hail Valentino

A video of the Valentino show at the Ara Pacis museum  - really a slide show.

Red glass box outside the Ara Pacis Museum.

Valentinoo’s original iconic 1965 red crepe sheath was encased in a giant red glass cube at the entrance to his retrospective exhibition.

The new museum was launched in 2006. designed by America’s Richard Meier and partners. The Ara Pacis is an “altar of majestic peace”, an ancient sacrificial altar from Rome 9 BC.  After being kept in a protective shelter for a long time, it was unveiled for the first time in years on 22 September which is the birthday of the Emperor Augustus who was around when the altar was built as a tribute to peace (i.c. victory/ sacrifice). Now there it is in the museum, all large and light and airy and made so by Mr. Meier et al, over looking the Tiber and Emperor Augustus’ mausoleum. It is a stunning but controversial museum and architectural space.

The temple of venus & valentino

Three dancers in red – Valentino red – floated like puppets on a string in front of the Colosseum.

As their shadows flickered over the ancient stones, a giant balloon,

celebrating Valentino’s 45 fashion years, drifted by and a golden shower of fireworks exploded.

Acrobats wearing Valentino gowns danced above the ruins,

as lighting of different colors transformed the Colosseum, symbol of Imperial Rome.

In the early second century AD, Rome’s most architecturally talented emperor, Hadrian, built a massive temple near the Colosseum and dedicated it to Roma, the divine personification of the city, and to Venus, the goddess of love and beauty.

The gigantic podium of that temple played gracious host to an off-the-chart party thrown by the emperor of style, Valentino. Forty-five years ago, the young designer made Rome the home of his fashion house. He is celebrated his long relationship with the Eterna with a gala of the type that hasn’t been seen here since the fall of the Roman Empire. In return for the privilege of using the temple as an extravagant party venue, Valentino donated 200,000 euro for the restoration of the structure.

In preparation for the imperial event, Oscar-winning set designer Dante Ferretti recreated ancient Rome with his own special effects. Rising to the occasion with aplomb, he erected fiberglass Corinthian columns on the temple platform and in an impressive spectacle that would have amazed even the ancient Romans, these were slowly illuminated as the sun set behind the Roman Forum. The stage set made clear the fact that it wasn’t just Valentino receiving homage at this party, however. The designer aptly shared his accolades with Venus, the goddess who brought beauty into the world, for from a giant niche facing the Colosseum, a colossal and nude Venus gazed enviously across the designer-clad crowd of 300 who dined and danced in the cool evening air.

Just before midnight, Venus and Valentino were further honored with an acrobatic performance staged between the Temple platform and the Colosseum.

Acrobats in Valentino dresses danced in the air to the strains of Maria Callas

~ the Colosseum, illuminated in red, behind them.

Women dressed in Valentino Red and suspended on invisible cables ascended into the stratosphere to the tune of Ave Maria. Once aloft, spotlights illuminated their flowing gowns and sinuous movements as they performed an ethereal dance while the haunting voice of Maria Callas singing Norma wafted across the eternal landscape.

As the women in red reentered our atmosphere,

an astounding display of V-inspired fireworks exploded against the backdrop of the Colosseum.

{Source and images: eternallycool.net}

The renowned Italian Oscar-winning movie designer Dante Ferretti (The Aviator, Gangs of New York, The Age of Innocence) recreated the original temple’s long-lost columns in fibre glass, a special procedure called anastilosys. Valerio Festi designed a spectacular performance by high-wire ballerinas (costumed in exaggerated versions of the designer’s ball gowns or signature lipstick-red evening dresses), who moved with poetic grace to Maria Callas’s haunting arias, with the Coliseum, bathed in red and mauve light, as a breathtaking backdrop.

Mr. Ferretti does not normally take on this kind of work, but he was intrigued by the idea of recreating a Hadrian work, the Temple of Venus, whose only public use is by the pope.

“I thought, O.K., Valentino is a kind of pope,” Mr. Ferretti said. He added, “That’s a joke, of course.”

Francesco Rutelli, the Italian minister of culture, who was sitting Friday evening with the group that included Mr. Berlusconi and Princess Caroline, said letting Valentino use the temple was “a once in a lifetime” decision that was consistent with the designer’s place in the city, if not Italy’s identity.

“I think it’s a very, very appropriate marriage,” Mr. Rutelli said. Valentino donated 200,000 euros toward restoration of the Temple. The plexigas structure remained for the summer for tourists to enjoy.

Behind the Scenes

As of late June, construction crews were working day and night to complete the exhibition, but by then Giammetti had set his sights on another Roman landmark, the Temple of Venus and Rome, for the opening-night dinner. “There’s a wonderful terrace with an incredible view of the Colosseum,” he says. “The Pope goes there once a year alone, no one else. It was very, very difficult to get.”

Valentino wanted the dinner to feel as if it were in one of his homes. His personal chef supervised the food, and his favorite florist, Rob Van Helden, was flown over from London to do the flowers. Silk napkins and tablecloths were embroidered to Valentino’s design in India, and 3,400 glasses were ordered in his favorite yellow crystal. Then there’s the china. “Oh, my God, it’s a disaster,” Giammetti groans. “Valentino wanted a special color and no one had it, so we are making 3,400 plates in Italy — believe it or not.”

Of course, there were also the guests themselves. “We have a huge call-center dealing with all the requests,” Giammetti says. “They need a pedicure. They need a hairdresser. They need to see the hairdresser’s Web site.” These, however, were the least of his concerns. “The huge, huge problem is saying ‘no’ to the people who are calling now to be invited. It is embarrassing and what I hate most, but I have to deal with it 25 times a day.”

Add to that details like the design of the ushers’ badges and the precise positioning of the red carpet. “Valentino and I are both perfectionists, and with something this huge, perfection isn’t possible,” Giammetti says, punctuating his sentence with a sigh. “The only thing I am praying for is the weather. If it rains, it will be a big, big problem. And, my God, I don’t want bad news.”

VIVA VALENTINO

Valentino designed a bigger collection than usual — 61 outfits, rather than the standard 40. An audience of 1,000 viewed them amid the 12th-century splendor of the Santo Spirito in Sassia basilica church.
“You know, for my Roman comeback, I have done the essence of my couture,” Valentino says.
“Very beautiful cocktail dresses. Very glamorous evening gowns. Very small red dresses.
Glamorous. Glamorous. Glamorous.”

Valentino’s Haute Couture Fall 2007

Valentino presented a winter couture wardrobe of 61 outfits to a star-studded audience gathered in a former medieval convent near the Vatican. The collection referenced many of the leitmotifs revealed in the retrospective at Ara Pacis and was a tour de force of the flawless and unmatchable techniques of Valentino’s brilliant workrooms.

The weekend before Valentino was in Paris to rehearse the show and fit the models. The clothes were driven to Paris by trucks, which then took them back to Rome. “We need Valentino here in Rome, and I cannot be in Paris,” Giammetti wails. “This is the first time I won’t see the fittings and the rehearsal. Imagine what a disaster. . . . ”

It was his first show in 17 years in the city where he began his climb to the top of the fashion ladder.

For the parade, Dante Ferretti, Federico Fellini’s and Marty Scorsese’s Oscar-winning set designer, lined the endless walls with a vast photo retrospective of Valentino’s black- and-white advertising and editorial images. It was held in two long, adjoining halls called Sala Incisa and Sala Baglivi of the restructured 16th century Santo Spirito. Down the entire length of both walls, hanging three deep, were black-and-white photographs of Valentino’s fashion. The runway was done in a glossy, black-and-white tile pattern.

The suits that opened the show were pure Valentino, with details like chinchilla pockets or a black wool jacket with a bouillonne of black tulle at the waist.

V

alentino’s trademarks of impeccably tailored skirt suits and elegant red carpet gowns in lipstick red or snow white were on show. Femininity, signified by bows and lace, is a constant.

This collection has some of my favourite Valentino pieces ever!

You may recognise some of them from a previous post.

The music segued from Mahler’s Fifth to Maria Callas’s

hauntingly beautiful rendition of Puccini’s ‘O Mio Babbino Caro’

as Valentino took his bow.

An impressive roster of fellow designers who had gathered to pay homage ~ Karl Lagerfeld, Giorgio Armani, Donatella Versace,Tom Ford, Diane von Furstenberg, Carolina Herrera, Zac Posen, Manolo Blahnik, and Philip Treacy among them—led the standing ovation. When Valentino came down the runway, he stopped in front of the other designers and did a little bow. When he came back up the runway, the habitually unflappable designer had tears in his eyes and embraced Giancarlo Giammetti on the runway.

‘It was the most fantastic collection,’ said Princess Firyal of Jordan backstage. ‘I’m about to cry, too.”

And the signature lipstick red dresses floated by vibrantly.

Peggy Siegal: My Roman Holiday with Valentino

Once again, those silver Mercedes bring us to another spectacular venue for the couture show: a restructured 16th-century medieval building, the Complesso Monumentale of Santo Spirito in Sassia, originally used as a convent and a stone’s throw from the Vatican.

We need to show that gold ID card to get in . . . society to the white gallery, press to the black gallery. One thousand famous people, still kissing each other, eventually settle into three rows that are a mile long.

The clothes Valentino sends down the runway are as explosive as the fireworks from the night before. The opulent and vibrant evening gowns are bedecked with enough jewels, feathers, beads and bows to wow even the most blasè red-carpet paparazzi.

Equally impressive is the line-up of Valentino’s col- leagues in the front row, which indicates his enormous popularity. Sitting next to each other are Diane von Furstenberg, Zac Posen, Manolo Blahnik, Tom Ford, Donatella Versace, Giorgio Armani, Philip Treacy, Car- olina Herrera and Karl Lagerfeld, whom Valentino has known for 52 years.

At the finale, everyone jumps to their feet and wildly cheers as Valentino strides down the runway behind his models.He is wearing an immaculate white fitted suit and has his arms in the air like a conquering gladiator.

He is crying.

Piece de Resistance, La Grande Finale

~ Gala Black-tie Ball at Galleria Borghese

“I love you, all of you very much

an emotional Valentino said in his champagne toast during Saturday night’s opulent bash,

a lavish party in the grounds of historic Villa Borghese,

which culminated two days of celebrations marking the designer’s 45 years in fashion.

Red was the hue for the celebrity events ~ especially for the Saturday night red carpet parade through the soft dusk of the Borghese gardens. Scarlet dresses shone out like beacons on Claudia Schiffer, with Valentino’s signature bows pert over her bare navel; or on the Texan supersocialite Lynn Wyatt in a 25-year-old vintage gown.

The boldest colors were eclipsed by the garnet glow of Caravaggio’s paintings on the palazzo walls. But once inside the vast chinoiserie dinner tent, Sienna Miller wowed the crowd with scarlet lips to match her dress. She sat on Mario Testino’s lap, while the uber-photographer flashed away. Click! Mick Jagger; Click! Eva Mendez; Maggie Cheung; Tom Ford; Rupert Everett. And, this being a “very Valentino” event, the royals: Princess Caroline of Hanover (in her favorite Chanel) and Marie Chantal of Greece, gorgeous as a crimped-hair 1930s vamp.

The Chinese Pavilion tent, put up at the cost hundreds of thousands of euros just for the party.

The evening’s Shanghai inspired setting, again designed by cinéaste Dante Ferretti, evoked the Orient with lacquered red and black walls with gilded decorations framing the 78 tables adorned with centerpieces made up of roses, hydrangeas and orchids. Waiters in guru jackets served the fish based menu on 3,500 delicate green porcelain plates, while an orchestra played high society music from the 1940′s. Pop star Annie Lennox offered the highlight with a surprise performance. Disco dancing with British DJ Laurence Steinman followed.

Leave it to Valentino to gather in the same room Mick Jagger — in town for a Rolling Stones concert — Princess Caroline of Monaco and family on their way to a Mediterranean cruise on their private yacht and the widow of the late Shah of Iran, former Persian Empress Farah Pahlavi.

Socialites included Daphne Guinness in a black-and-white lace flamenco dress with silver platforms and ostrich-feather eyelashes and Lita Livanos, Sheetal Mafatlal, and Rena Sindi, Nada Kirdar, Lynn Wyatt (in the red taffeta ruffled dress Valentino made for her 25 years ago that she found in her attic), Allison Sarofim in a coral-beaded 1960s Valentino, Eugenia Niarchos and Phivos Istavrioglou, famous heir and socialite from Greece.

Movie stars flocked too: Uma Thurman, Anne Hathaway, Sarah Jessica Parker in black draperies, Sienna Miller in an ostrich-feather crinoline gown, Jennifer Hudson in a gown with a train, Eva Mendes in a black version of the designer’s iconic 1965 red crepe sheath (the original was encased in a giant red Perspex box at the entrance to his retrospective).

Schiffer flaunted a gown in Valentino’s trademark flaming red. Hathaway was in a black Valentino with white embroidery, while Italian actress Gina Lollobrigida, a longtime friend, wore a vintage Valentino red gown.

And the list goes on and on….

Elton John, Karl Lagerfeld, Marie-Chantal, Crown Princess of Greece, Princess Rosario of Bulgaria, Princess Firyal of Jordan as well as Mayor Walter Veltroni.  Supermodels and actresses from the past four decades arrived to pay homage to their dressmaker – Claudia Schiffer next to Marisa Berenson, Sienna Miller alongside Joan Collins, Elle MacPherson - as well as contessas, duchesses and princesses.

The lobby of the Hotel de Russie is clogged with swans in Valentino ball gowns

– Julia Koch in white, Sara Ayres in red, Marie Chantal in pink, Anne Hathaway in black, Jennifer Hudson in brown and Sarah Jessica Parker in gold.

Senator and jet-set racounteur Mario D’Urso spontaneously drives me over to the Villa Borghese and gives me a tour of the Galleria Borghese museum with its Caravaggios, Canovas and Bernini sculptures. He introduces me to every noble Italian in Italian–which is a little scary. We stroll through the gardens into a vast, Chinese- themed, tented dining room designed, and built especially for the evening–complete with tufted ceilings, palm trees and lacquered red and black walls, recreating the exotic glamour of Shanghai in the 1920s.

During dinner, snippets of the cinema veritè documentary on Valentino are shown. The documentary was produced and directed by Matt Tyrnauer, a veteran VF journalist. He has been globetrotting for two years, filming Valentino’s life of “art, beauty and love” on the designer’s 152-foot yacht and in his five homes: Rome, London, Gstaad, Paris and Manhattan. Tyrnauer describes his film as a celebration of the “last emperor of haute couture.”

Valentino then makes a very short speech to everyone who has shared his unforgettable weekend.

Chanteuse Annie Lennox, wearing her first Valentino,

sings Sweet Dreams (Are Made of This)

and Mick Jagger, fresh from his sold-out performance the night before (attended by Lance Armstrong and Tory Burch) jumps up on the dance floor . . . along with Uma Thurman, Rupert Everett and the girls in red: Claudia Schiffer, Sienna Miller, Natasha Richardson and Lynn Wyatt in a 25-year- old gown. Claire Danes snakes her tight body around Hugh Dancy’s tight body as they dirty dance the night away.

Also celebrating were Valentino’s American boyfriends since 1982, Bruce Hoeksema; Valentino’s and Giancarlo’s god-children, Sean Souza and his brother Anthony along with their dad Carlos and mom Charlene de Ganay; Nati Abascal and her son Duque de Feria; Lita,George and Stavros Livanos; Lord Charles Spencer Churchill; Carolina Herrera, Jr.; Prince and Princess Pierre d’Arenberg; Count and Countess Ravenal; HRH Princess Firyal of Jordan; Eugenia Silva and Alejandro Santo Domingo; Eugenia and John Radziwill; Baronne Silvie de Waldner; Stephen and Christine Schwarzman; Giles Bensimon and Diana Widmaier Picasso; Margherita Missoni; Charlotte and Andrea Casiraghi (Princess Caroline’s gorgeous children); Glenda Bailey; Pamela Fiori; Patrick McCarthy; Andrè Leon Talley; Fabiola Beracasa; Jennifer Creel; Rachel Zoe; Delphine Arnault Gancia; Taki Theodoracopulos; Theodora Richards; Georgia and Elizabeth Jagger.

In the end, Valentino’s only disappointment is missing Gwyneth Pal- trow, who smashed her knee tripping over furniture and is on crutches in her East Hampton home, and Meryl Streep, who sent her husband Don Gummer and their daughter Mamie. Valentino had a cameo in The Devil Wears Prada and became very friendly with Meryl, but she is stuck in Stockholm preparing to film the hit Abba musical, Mamma Mia!

His lucky friends will reminisce for years to come about this extraordinary event.

Rome wasn’t built in a day, but Valentino transformed it in three.

Bravo Valentino!

Peggy Siegal: My Roman Holiday with Valentino

{Images  & Sources: Eternally Cool; Vogue Australia; NY Times & Writers – Cathy Horyn, Darius Kadivar, Jess Cartner-Morley, Suzy Menkes, Alice Rawsthorn}

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Friday 12 November 2010

a few of my favourite Valentino pieces

 

These are my favourite Valentino creations from the exhibition.

I have tried to unearthed pictures of the clothes divine on people rather than the fashion dummies in the exhibtion.

I loved everything from the Valentino White Collection, created in 1968. Still so modern.

Vanilla wool jersey dress with a circular cape with long laced suede boots ~ haute couture A/W 1966 – 1967.

This delicate ensemble with ruffled cuffs and appliqué of small flowers from the white and ecru toned haute couture Spring /Summer 1968 was worn by Audrey Hepburn and modelled here by Marisa Berenson for Vogue.

And this lacy vanilla mini, was worn by Audrey Hepburn and attracted world attention when Jackie Kennedy chose a version of the dress for her wedding to Aristotle Onassis.

A stunning white evening gown of coils, from haute couture S/S 1993, sculpturally hugs the body. It was worn by Ashley Judd to present Valentino with the Lifetime Achievement Award at the 2000 American Fashion Awards.

The two black transparent gowns below are amazingly beautiful in reality,

and the images struggle to capture the beauty.

Black & white evening dress ~ for the cocktail hour, cobwebs of jewelled sequins in black and white, feather-hemmed and transparent crystalline gown; haute couture A/W 2003 – 2004.  Black evening dress from haute couture A/W 2004 – 2005.

Dramatic and shimmering brocade dress coat with black trim; haute couture A/W 2006 – 2007.

Exquisite white evenin gown panels of sequins, beads and crystals, pleated tulle;

haute couture S/S 2007; fabric: Sophie Hallette; embroidery: Marabitti.

Flesh-coloured evening gown embroidered with ostrich feather fringes in a camaïeu of pinks alternating with bands of pink beads and lines of white strass crystals; haute couture A/W 2007 – 2008; fabric: Sophie Hallette; embroidery: Shameeza; feathers: Galeotti.

This gorgeous pink dress and cape is one of my favourite, favourites!

Evening ensemble Haute Couture Autumn/Winter 2007–08 / Empire dress with draped bodice, sheath with ribbed darts and triangular train made of pink silk crêpe; cape entirely composed of pink organdy petals; fabric: Ostinelli; embroidery: Pino Grasso / Collection: Les Arts Décoratifs, Paris

Evening suit Haute Couture Spring/Summer 2008/ pale tulle appliquéd with an origami in pink faille embroidered with iridescent pink glass beads, knotted half belt, overstitched pink stain collar and cuffs; fabric: Buche-Guillaud; embroidery: Pino Grasso

White bejeweled evening gown with crystal trims; haute couture S/S 2008; fabric: Hallette; embroidery: Hurel.

I love the mystery and beauty of the lace masks from the Haute Couture Autumn Winter 2009-10 collection. The short, flirty dresses in wisps of black lace, are a little bit dark and gothic and a little bit Midsummer Night’s Dream, very ethereal.

A Chrysalis dress in bronze and black organza with encrusted lacquered lace

Tattoo dress “oiseaux de nuit” in Chantilly lace, feathers and “lave”

The gorgeous off-white pantsuit from the haute couture S/S 2000 collection at the front left ~  Valentino was an ardent fan of pantsuits for women in the early ’70s and pioneered the evening pajamas look.

Another favourite that I couldn’t find an image of was a LBD, haute couture S/S 1960;

and then there were some lovely creations I discovered….. some extra Valentino exquisiteness!

And a stunning vintage piece for the finale!

{Images via Vogue}


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Friday 12 November 2010

Ruby paints the town red & waves goodbye to Valentino.

 

“I know what women want. They want to be beautiful.” Valentino

GOMA was a sea of Valentino signature red

when Ruby Connection ‘gals’ frocked up last night to celebrate the final moments of

Valentino, Retrospective: Past/Present/Future.

White goddess gowns, sherbet-shaded suits, signature red hue dresses…

We had a lovely evening of frocks and champagne

and failed to decide which a haute couture creation was the most beautiful!

There are only days remaining to experience the

inspiration and passion of legendary couture fashion designer

Valentino Garavani.

Exclusive to Brisbane, ‘Valentino, Retrospective: Past/Present/Future’ will finish this weekend, 14 November.

This major exhibition was developed by Les Arts Décoratifs, Paris

with the assistance of the Valentino Italian fashion house.

The retrospective of 100 ensembles

includes some of the most important haute couture creations originally shown in the exhibition

‘Valentino: Themes and Variations’ at Les Arts Décoratifs, Paris, in 2008.

A chorus of red-dressed women pay homage in the

Valentino a Roma: 45 Years of Style exhibition at Rome’s Ara Pacis Museum in 2007.

He romanticised the idea of woman as goddess with his long, figure-flattering silhouettes in silk, chiffon and lace, intricately beaded, sequinned and ruffled, that became the ultimate in hold-the-front-page dressing.

“I love women,’’ Valentino was often heard to say.

“I have always tried to make them look very sexy, very glamorous.’’

In 1968 Valentino had one of his greatest triumphs, the ‘White Collection’

~ an all-white pring-Summer collection that became famous for the “V” logo he designed.

Valentino was an ardent fan of pantsuits for women in the early ’70s

and pioneered radical looks like evening pajamas and turbans.

Princess Luciana Pignatelli

Audrey Hepburn wore a lot of Valentino in the ’60s, and from his legendary Spring 1968 all-white collection this lacy vanilla mini, is a version of the dress that Jackie O chose for her Skorpios ceremony when she wed Aristotle Onassis.

Known around the world for its sophisticated, timeless design and glamorous clientele, the exhibition showcases a stunning array of Valentino Garavani’s haute couture designs from the late 1950s through to his final collection in January 2008, as well as recent creations by Maria Grazia Chiuri and Pier Paolo Piccioli – appointed Creative Directors in October 2008.

On display are famous gowns worn by royal families, socialites and hollywood celebrities including Cate Blanchett, Nicole Kidman, Julia Roberts, Jacqueline Kennedy Onassis and Elizabeth Taylor.

Above is the stunning black and white gown Julia Roberts wore to the 73rd Academy Awards in 2001,

and below Cate Blanchett in a lovely lemon Valentino dress when she won an oscar.

Elizabeth Taylor wore this elegant pleated chiffon evening gown with ostrich-feather trim to the premiere of Spartacus in Rome in 1961.

The legendary ‘White Collection’ captured his trademarks of feminine sophistication and slavish attention to detail.  The pics below show ice-princess nobility in an evening suit of white cotton serge with a jacket and vest embroidered with braid, pearls and strass crystals from the autumn/winter 1968 collection.

A cocktail suit of ivory tulle with flowers embroidered in beads, sequins and strass crystals

from spring/summer 2008 has a timeless quality.

Chiuri and Piccioli embraced the beauty of couture technique and reflected the tradition of Valentino in the Haute Couture Autumn Winter 2009-10 collection shown below.

“This was the first couture show where we showed our vision of the brand. Creating an entirely black collection felt right for us because for our generation, black is black, almost not a colour, it is a part of our everyday lives,’’ says Chiuri. “We wanted to show what’s inside the craftsmanship of couture. It’s beautiful but nobody knows about it, so for this collection we wanted everything to be transparent, to show the corsetry underneath, and the intricate stitches that pull together every ruffle.’’

They played with enduring Valentino materials such as lace, but worked with it in a patchwork of different laces, allowing the colour of the skin to come through to make the pattern appear almost like a tattoo. “We want a woman’s personality to be part of the dress. She is wearing the dress, not the dress wearing her. This is our change in point of view.’’

The duo also likes to mix materials – embroidery, lace, feathers, chiffon – so it can’t be described in just one way. “It gives a new harmony. Depending on who it wears it, it will say different things,’’ says Piccioli.

The Chiuri-Piccioli pieces contain hints of original Valentino but also evidence of the design duo’s distinctively more dangerous and risque appeal. Much like the two themselves: Chiuri with her wild, frenetic pace and throaty Roman voice, Piccioli with his cool denims and perfectionist’s eye.

The exhibition explores Valentino’s techniques and recurring motifs

such as ornamentation, the use of geometric and animal prints, frills, folds and pleats

as well as the creative possibilities of volume, surface and line.

The silk serge gown with handpainted coral motif below is from the Spring/Summer 1968 collection.

Photo: Ruven Afanador

Evening gown (detail) above| Haute Couture Spring/Summer 2008| Strapless evening gown made of silk voile appliquéd with silk voile ruffles and corollas in graduated shades of pink; fabric: Clerici-Tessuto

Evening gown below| Haute Couture Spring/Summer 2003 | Strapless evening gown with low-set draped pale crimson chiffon sleeves, a train with appliqué pleated crimson taffeta rosettes and red strass crystals in their centres, and pink and grey taffeta rosettes in its lining; fabric: Buche-Guillaud; embroidery: Marabitti

This gorgeous pink dress below is one of my favourites.

Valentino Evening ensemble Haute Couture Autumn/Winter 2007–08 / Empire dress with draped bodice, sheath with ribbed darts and triangular train made of pink silk crêpe; cape entirely composed of pink organdy petals; fabric: Ostinelli; embroidery: Pino Grasso / Collection: Les Arts Décoratifs, Paris

The exhibition embodies the glamor, beauty, and ambition of an age

when garments were handcrafted to an uncompromising standard perfection.

Queensland Art Gallery director , Tony Ellwood

Valentino was the first couture house outside of Paris to be officially recognised by the French Government. The exhibition, curated by Pamela Golbin, curator-in-chief for the Fashion and Textiles collection of Les Arts Décoratifs, features a selection of signature ‘Valentino red’ dresses, including one from the couturier’s first collection — ‘Fiesta’, a strapless cocktail dress in draped tulle from Spring/Summer 1959. Valentino often collaborated with master milliner Philip Treacy to create some signature hats and headwear.

Valentino Haute Couture from left: Chantilly lace, tulle, and chiffon ballroom dress, draped Chantilly lace tunic with bronze tulle and lacquered lace, Chantilly lace and feather dress, floral cage ballroom gown. Mask & hat ~ Philip Treacy.

His ‘V’ logo is famous all over the world.

Valentino is synonymous with opulence, extravagance, and drama. In business since 1960, Valentino Garavani made his mark early with intricately detailed, luxurious gowns and tastefully body-conscious silhouettes—even perfecting his own shade of Valentino Red.

Valentino became interested in clothes and fashion in primary school. He was inspired by his Aunt Rosa and learnt the basics of fashion design from her as an apprentice. Valentino dreamt of becoming a fashion designer.

Valentino Garavani was born in Voghera, north of Milan on May 11, 1932. While attending high school he shows a precocious artistic temperament and soon becomes interested in fashion. He takes courses in fashion design and studies French to prepare himself to move to Paris. He is 17 years old when he arrives in the then world capital of fashion and couture. After a few years’ apprenticeship in the Fashion Houses of Jean Desses and Guy Laroche, Valentino returned to Rome at the beginning of the 60s to open his own atelier. Those are the years of the Dolce Vita and many Hollywood stars who come through Rome discover Valentino and determine his quick fame.

Rome (1959-1962) In 1959 Valentino left Paris and moved back to Italy with his lover, French socialite Gerald Nanty and opened a fashion house in Rome on the posh Via Condotti with the backing of his father and an associate of his. More than an atelier, the premises resembled a real “maison de couture“, being it very much on the line of what Valentino had seen in Paris: everything was very grand and models flew in from Paris for his first show. Valentino became known for his red dresses, in the bright shade that became known in the fashion industry as “Valentino red”.

On 31 July 1960 Valentino met Giancarlo Giammetti at the Café de Paris on the Via Veneto in Rome. One of three children, Giammetti was in his second year of architecture school, living at home with his parents in the haut bourgeois Parioli section of Northern Rome. That day Giammetti gave Valentino a lift home in his little Fiat and a friendship as well as a long-lasting partnership started. The day after, Giammetti was to leave for Capri for vacation and by coincidence Valentino was also going there so they met again in the island 10 days later. Giammetti would shortly after abandon the University to become Valentino’s business partner. When Giammetti arrived, the business situation of Valentino’s atelier was in fact not brilliant: in one year he had spent so much money that his father’s associate pulled out of the business, and had to fight against bankruptcy. Giammetti’s entrepreneurial genius proved fundamental to the worldwide expansion and success of the House.

Valentino with Giammetti in the office at the palazzo mignanelli, Rome.

Valentino’s White Collection in 1968 in which the winning “V” first appears, turned him into an unsurpassed king of fashion. Done in all-white, Valentino stitched his trademark Vs on pockets, into lapels. White tights hand-painted with gold sold for over $200. Even Valentino said it was the best he had ever done.

This very modern White Collection, was considered quite radical, and a challenge to London’s stronghold on 1960s fashion. The fashion press dubbed Valentino both the King of Fashion and the Sheik of Chic.

The lace mini-dress he designed for Jacqueline Kennedy’s marriage to Aristotle Onassis made the covers of magazines around the world.

In 1964 Jacqueline Kennedy had seen Gloria Schiff, the twin sister of the Rome-based fashion editor of American Vogue and Valentino’s friend Consuelo Crespi, wearing an ensemble in two pieces in black organza at a party. Jackie called Gloria Schiff to know the name of the designer and found out it was some Valentino. In September 1964, Valentino had a show at the Waldorf-Astoria for a benefit. Since Jackie wanted to see the clothes, he sent his saleslady, along with a model, to Jackie’s apartment on Fifth Avenue. Mrs. Kennedy ordered six outfits and from then on she became a devout client and a friend. She then bought six of his couture dresses, all in black and white, to wear during her year of mourning after President John F. Kennedy’s death. Valentino later on would also design the white dress that Jackie wore to her wedding with Greek tycoon Aristotle Onassis.

In 1978 he launches his own perfume during a gala in Paris, where guest star Mikhail Baryshnikov dances Tchaikowski’s La Dame de Pique at the Theatre des Champs Elysees.

Thanks in part to the entrepreneurial skill of Giancarlo Giammetti, Valentino’s longtime business partner and ex-boyfriend, the brand is still manna among European royalty, American socialites, and celebrities craving a touch of class. Though his new creations get a great deal of attention—and requests, especially around red-carpet time—his vintage dresses continue commanding attention. To the horror of loyal fans across the globe, Valentino announced his retirement in 2007. Since he hadn’t groomed an heir, the label is still trying to find its footing: Former Gucci designer Alessandra Facchinetti took over as head designer until being unceremoniously fired after her spring 2009 collection. Maria Grazia Chiuri and Pier Paolo Piccioli, who had previously designed accessories for the label, were then named creative directors.

Celebration of 45 years of Valentino

In order to celebrate the 45th anniversary of Valentino’s career a fashion extravaganza took place in Rome between 6 and 8 July 2007. Festivities started on Thursday 5 July with a dinner for Valentino’s assistants and employees at Ristorante Gusto and ended on Sunday 8 July with the launch of a perfume and a brunch at the French Academy of Villa Medici.

The main five exclusive golden invitation cards have been sent

from the Valentino headquarters  for the main weekend’s events:

6 July 2007 at 7:30 pm: inauguration of the exhibit “Valentino in Rome, 45 years of style” designed by Patrick Kinmonth and Antonio Monfreda at the ancient sacrificial altar Ara Pacis showcasing Valentino’s most important creations from the past 45 years. Valentino has gone through his archives and his clients’ closets to narrow down his choices to about 300.

6 July 2007 post-exhibit gala dinner at the Temple of Venus in the Imperial Forum. Dating back to 135 A.C. and dedicated to Emperor Hadrian the forum had never been opened to any event. Oscar-winning designer Dante Ferretti (The Aviator, Gangs of New York, The Age of Innocence) re-created the monument’s long-lost columns in fibre glass, a special procedure called anastilosys. Valerio Festi designed a spectacular performance by high-wire ballerinas (costumed in exaggerated versions of the designer’s ball gowns or signature lipstick-red evening dresses), who moved with poetic grace to Maria Callas’s haunting arias, with the Coliseum, bathed in red and mauve light, as a breathtaking backdrop. The plexigas structure remained for the summer for tourists to enjoy. Culture Minister Francesco Rutelli also revealed that Valentino contributed to the restoration of the Temple with a donation of 200,000 euros.

7 July at 5.00 pm: fashion show for 1000 people. For the first time after 16 years Valentino’s Haute Couture fashion show will not take place in Paris during the HC fashion week but in Rome. Socialite and long-time Valentino fan Marina Palma took over the fashionable Bolognese restaurant for a tribute lunch before the international guest list set off for the designer’s bravura couture runway show.

The fashion setting was two halls called Sala Incisa and Sala Baglivi of the restructured 16th century Santo Spirito in Saxia complex, next to Castel Sant’Angelo and the Vatican. Valentino showed about 61 couture dresses, a record number considering an HC show never shows more than 40 gowns. The collection referenced many of the leitmotifs revealed in the retrospective at Ara Pacis and was a tour de force of the flawless and unmatchable techniques that Valentino’s brilliant workrooms. The music segued from Mahler’s Fifth to Maria Callas’s hauntingly beautiful rendition of Puccini’s ‘O Mio Babbino Caro’ as Valentino took his bow.

Fellow designers who attended included Karl Lagerfeld, Giorgio Armani, Donatella Versace, Tom Ford, Diane von Fürstenberg, Carolina Herrera, Zac Posen, Manolo Blahnik, and Philip Treacy among them—led the standing ovation, which drew tears from the habitually unflappable designer, who embraced Giancarlo Giammetti on the runway.

The post-show gala dinner and ball took place in the Parco dei Daini at the Villa Borghese. There Dante Ferretti had created a Brighton Pavilion-inspired tent, with palm-tree columns and red, black, and mirrored walls, in the gardens. Guests included Princess Caroline of Monaco, Anna Wintour, former Persian Empress Farah Diba,Jacqueline de Ribes, Elton John, Karl Lagerfeld, Marie-Chantal, Crown Princess of Greece, princess Rosario of Bulgaria, princess Firyal of Jordan as well as MayorWalter Veltroni. Other movie stars in attendance included Uma Thurman, Anne Hathaway, Elizabeth Hurley, Sarah Jessica Parker, Joan Collins, Sienna Miller, Michael Caine, Jennifer Hudson, and Eva Mendes. Singer Annie Lennox held a surprise concert.

A hardcover companion to the exhibition, published by Rizzoli, celebrates Valentino Garavani’s 49 year- career, focusing on his most important and emblematic haute couture designs.

Valentino, Retrospective: Past/Present/Future.

The exhibition honours his exquisite tailoring and paparazzi-pleasing floating fripperies.

{Images via Queensland Art Galleryeternally cool}

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