Fashion Design Management Project - Erika Serafin April 2019
Helena Fapranzi-Gaultier Emese Bakรณ
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table of contents Va l e n t i n o G a r a v a n i
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Inspirations
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A new vision
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Inspirations
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SS20
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The woman
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Dreams unlimited
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Nebulae
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The red giant
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Neutron star
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Color palette
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Bibliography
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giovinezza
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V
alentino was born in Voghera, in the province of Pavia, Lombardy, Italy. He became interested in fashion while in primary school in his native Voghera, Lombardy, northern Italy, when he apprenticed under his aunt Rosa and local designer Ernestina
Salvadeo, an aunt of noted artist Aldo Giorgini. Valentino then moved to Paris to pursue this interest with the help of his mother Teresa de Biaggi and his father Mauro Garavani. There he studied at the École des Beaux-Arts and at the Chambre Syndicale de la Couture Parisienne. His first choice for an apprenticeship, in Paris, was Jacques Fath, then Balenciaga. He found an apprenticeship with Jean Dessès where he helped Countess Jacqueline de Ribes sketch her dress ideas. He then joined Guy Laroche for two years. At Jean Dessès, Valentino sketched furiously, between helping with window dressing and greeting clients for the daily 2:30 pm private showings. After
five
years,
Valentino
left
Jean
Dessès.
Rescued by his friend Guy Laroche, he joined his “tiny, tiny” fashion house. After discussions with his parents, he decided to return to Italy and set up in Rome in 1959. In 1960 Valentino left Paris 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,” it being very much along the lines of what Valentino had seen in Paris: everything was very grand and models flew in from Paris for his first show. Valentino es,
in
in
the
became the
bright
fashion
known shade industry
for
his
red
dress-
that
became
known
as
“Valentino
red.”
On 31 July 1960, Valentino met Giancarlo Giammetti at the Café de Paris in Rome. he would later become the lifelong business partner and CEO of the fashion house. 7
1950s
Valentino in his first atelier in Rome
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Young Valentino in his first Paris apartment
ED
On a holiday in Barcelona, he discovers his passion for the color red one evening at the Opera
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1960
Giancarlo Giammetti and Valentino Garavani. From Private by Giancarlo Giammetti
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Presentation of the Fall Winter collection during the Haute Couture shows at Palazzo Pitti, 19th of July, Florence
1962 11
la celebritĂ
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Audrey Hepburn, Elisabeth Taylor, Jacqueline Kennedy, Andy Warhol, Angelica Houston, Celine Dion, Cate Blanchett, Julianne Moore, Diane Kruger, Jennifer Aniston, Sarah jessica Parker, Carla Bruni, Julia Roberts, Anne Hathaway, Penelope Cruz, Nicole Kidman, Gwyneth Paltrow, Jennifer Lopez, Kim Kardashian, Brad Pitt, Cameron Diaz, Miranda Kerr, Adele, Kiera Knightley, Loel Guiness, Kris Jener, Miley Cyrus, Blake Lively, Alexa Chng, Olivia Palermo, Liz Hurley, Madonna, Kylie Minogue, Monic Bellucci, Kristen Stewart, Victoria Beckham, Meryl Streep, Princess Diana, Diana Vreeland, Franca Sozzani, Fan Bing Bing
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ispirazioni
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valentino RED
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B&W linear obsession
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... polka DOT
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roses are RED...
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...the rest is
WHITE
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MEN
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and other animals
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voulez-vous COUCHER AVEC MOI...
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the art of LIVING
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una nuova visione
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With his long-time creative partner Maria Grazia Chiuri , Pierpaolo Piccioli has overseen Valentino’s creative direction for eight years, during which time they modernised its couture DNA to fit the contemporary consumer. As of July 2016, when Chiuri decamped to Dior, Piccioli is Valentino’s sole creative director. An alumnus of Rome’s Istituto Europeo di Design Piccioli first met Chiuri in the early 1980s. They began working together in Fendi’s accessories department, marking the beginning of a two-decade creative partnership. In 1999 the pair moved to Valentino as accessory designers. In 2003 they oversaw its entire accessories range. Shortly after Valentino Garavani ’s retirement in 2008, Chiuri and Piccioli were appointed co-creative directors. Valentino was struggling to reclaim the international cachet it once had. Chiuri and Piccioli pushed Valentino back to the forefront of fashion. In July 2016, when Chiuri was appointed artistic director of Dior, Piccioli became Valentino’s sole creative director. Since heading up the fashion house solo the brand has seen large success — his Autumn/Winter 2018 haute couture for the house received a standing ovation.
“It’s more about the feeling I get from something, the reflexion it triggers inside me.” 26
ispirazioni
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resurrection and RENAISSANCE
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gothic ARCHITECTURE
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the seven deadly sins & FRANCISCO DE ZURBARAN
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victoriana & THE MEMPHIS GROUP
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apollo & daphne IN VERSAILLES
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in the name of LOVE & POETRY
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SS20
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the WOMAN
The Valentino woman is elegant and modern, she is a powerful entrepreneur and has a high-class city lifestyle. Her idea of beauty is defined by femininity, independence and strong personality. Exclusivity and innovation is what she is looking for in fashion but also in terms of culture, travel, arts and social events. She lives in a society that offers her multiple choices in terms of culture and personal growth. She usually lives in culturally diverse and highly populated cities that could be either a fashion capital or a smaller but inspirational environment. She works in a challenging but organized workplace that allows her to express herself through her personal style. She could be working in journalism, law or even in an arts gallery. The age bracket to consider here is between 25 to 50 years old, from a more playful to a more formal approach but still in line with a desire of constant improvement. She is usually well of money wise, either single or with a small family. She gives importance to travelling and discovering new cultures, usually taking fewer long holidays but combined with a few city breaks as well. She prefers to shop in physical stores or concept stores with multi-brand offerings. Having a keen eye for quality and craftsmanship, she buys seasonally unless finding something really striking which she is ready to invest in on the spot. She wants to express her refined tastes through sophisticated outfits for various professional occasions as well as for leisure activities. She is not trend-driven because Valentino transmits the aesthetic and elegance she aspires to. She is culturally driven by her environment and tends to be informed about current news and political issues. The magazines and books she reads can vary from traveling to social-economical topics. The contemporary yet romantic collections of Valentino are exactly what she aspires to in her every-day life and she appreciates cultural inspirations of the designer’s creations.
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dreams
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UNLIMITED The Valentino Red has long been embedded in the minds of the consumers. It is a strong primary color that embodies perfectly the spirit of the Valentino house. It is seductive, powerful and theatric. The inspiration for our prêt-à-porter SS20 collection proposal starts exactly here. The Valentino women are refined with an exquisite taste and a strong sense of the zeitgeist but with an insatiable thirst and demand for the new. They are sophisticated dreamers. When we think of dreams we think of different realities and galaxies even, so we started our concept here. Every galaxy, every star has a defining moment in their evolution which then further determines its evolution. It is called the ‘Red giant phase’. In the evolutionary path of a high mass star we can identify three main phases that are representative and which will be the bases of our three story lines. The creation from space dust, the core of every star, is an initial phase of colors and explosive collisions. It is the phase where the nebulae is formed. The next phase of this evolution consists of the undergoing through the supernova explosion which then defines the so called red giant phase. The name comes from the color rooted explanation of the increasingly rising temperatures of the star. The maturity of the star is reached after the remnant of the explosion thus becoming a neutron star. The evolution of the collection follows the evolution of a star. Starting from a color bomb of so called futuristic colors turning into various shades of red and then coming to a conclusion of a clean new start where the colors as well as the shapes only show traces of the previous phases. For each part of the collection, we looked at cept of outer space and galaxies. In the first ycia Raynaud, in the second part we have and last but not least we have the works of
different artists working with the conpart we have Bruce Nauman and AlBarnett Newman and Yayoi Kusama Constantin Brancusi and Vija Celmins.
Each story line includes 20 outfits, making 60 in total. The first part of the collection focuses on a sleek sihouette with added volume by intersection of silk twill with neoprene and technical fabrics, adding depth with mixed prints and 3D applique decorations. The second part, representing the climax in term of silhouettes is based on trapeze and voluminous A line silhouettes, continuing with silks of different weight adding depth by the combination of many shades of red. The third part is the calm but ethereal one, toned down color versions of the previous palettes, with spots of color popping up in the forms of 3D applications and accessories.
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BRUCE NAUMAN, MYSTIC TRUTHS, 1967
The first part, from zero to one, from space dust to star, the nebulae is formed. A star is born.This initial phase is characterized by a collision of explosive colors. The garments are representative of these strong colors. They stand out. The silhouette is clean and sleek, the prints and tech fabrics help give an ethereal alien-like feel to the collection.
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ALYCIA RAINAUD, MALAVIDA, 2016
BRUCE NAUMAN, LOVE HATE PLEASURE, PAIN, 1983
DAN FLAVIN, MONDRIAN, 1975
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BARNETT NEWMAN, CANTO XVII, 1963
YAYOI KUSAMA, INFINITY ROOM. 1960
The tino It or
critical phase of the red giant gives the color palette of this part of our collection. The Valenred becomes space Valentino red and defines a critical point of the collection evolution. is the climax point of the collection including a mainly red colscheme adding spots of burgundy and black for the depth of the garments. 40
EDWARD RUSCHA. VOWEL #96, 1996
NICHOLAS ALAN COPE, AETHER, 2011
CLAUDE LEVEQUE, ANOTHER WORLD, 2017
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CONSTANTIN BRANCUSI, BIRD IN SPACE 1928
The red giant is a turning point. A star will continue to grow and eventually become sucked in by gravity becoming a black hole or continue its life cycle by becoming a neutron star. Our collection follows the path of simplicity and etherealness and focuses on a clean palette ‘reminiscent of a former life’. In this part of the collection the silhouette and color palette evolves accordingly with only hints of the strong aforementioned palettes.
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VIJA CELMINS, NIGHT SKY #18, 1998
CARMEN DELL’OREFICE, 1955
ZIEGFIELD GIRLS, 1941
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color PALETTE
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bibliography websites Valentino.it Vogue.it Businessoffashion.com The-talks.com Wwd.com Pinterest.it Delpozo.com Calvinklein.it Celine.com artists Bruce Nauman https://www.artribune.com/television/2017/12/video-bruce-nauman-artistapoliedrico-tate-shots/ Barnett Newman https://www.moma.org/artists/4285 Yayoy Kusama https://mymodernmet.com/yayoi-kusama-mirror-room-installations/ Constantin Brancusi https://dartema.com/2018/07/15/constantin-brancusi-lessenza-della-forma/ Vija Celmins https://www.tate.org.uk/art/artworks/celmins-night-sky-18-al00178 Claude Lévêque http://claudeleveque.com/en/home Ed Ruscha https://www.artribune.com/report/2013/06/ed-ruscha-standard-analitico/ Dan Flavin https://www.amica.it/2019/02/25/dan-flavin-mostra-milano/?refresh_ce-cp books Valentino Garavani: Una grande storia Italiana Valentino at the Emperor’s table documentary Valentino: The Last Emperor
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02 04 2019