MAKING their way through a bed of roses, the models almost floated in their lightness and fluidity, accentuated by a haze of pleated chiffon gowns, which were at the core of Valentino’s haute couture collection for spring 2016.

The ethereal creatures looked like hybrids of ancient Roman goddesses and Eastern Byzantine princesses, each crowned with a gold headpiece in the shape of two serpents created by Alessandro Gaggio and Harumi Klossowski. They walked barefoot, ankles adorned only with gold cuffs, on the runway covered in blush pink rose petals to symbolise connection with the earth as the Creative Directors, Maria Grazia Chiuri and Pierpaolo Piccioli, had the female body and return to the nature at the centre of their inspiration.

The influence of Byzantine orientalism was apparent in the rich brocades, damasks, jacquards and heavily embroidered dark velvets turned into gowns and floor length robes, accessorised with gold chains worn across the body.

As the show was slowly coming to an end, there was a shift towards the sparkling 1920s, but still with an apparent influence of orientalism which reigned during the decade, owing to the Ballets Russes which introduced a revolutionary new style of ballet and fashion at the time.

Going even further east, kimono-style robes and dresses with patterns of dragons transported us to ancient Japan.

Techniques like patchwork and mixing different textures were used as transparent chiffon gowns were decorated with colourful shapes in velvet, creating patterns. There were patterns and blown-up prints of mythical symbols such as a myrtle tree, a peacock or a serpent.

A ray of rather minimal white dresses, paired only with statement gold jewellery, resembled the Roman togas. And the sea goddesses and nymphs weren’t forgotten here either as shimmering net dresses made models look like mermaids. This show and collection was simply otherworldly.

Images courtesy of Karla Otto

Published 28/01/2016 at theglassmagazine.com