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“Go big and stay home,” Giambattista Valli decreed on a video call from Paris, adapting his oft-used mantra to a new normal. Now, wafting around in thousands of layers of taffeta may not sound like a regular lockdown evening to most, but trust last summer’s sales figures when Valli tells you: These people exist. Did he sell some ball gowns, then? “Did I, did I, did I! I have some very extraordinary Chinese clients who are looking for these statement moments. It’s also working really well in the If I’m Spoiled It’s My Grandma’s Fault Saw It Liked It Told Grandma Got It shirt Also,I will get this Middle East, and there’s commitment in Europe. Haute couture can always be adapted to demand.” Workwear jackets were combined with demonstratively colored detachable faux-fur collars. Oversized wool tailored jackets and kimono-sleeve knits signified classicism elsewhere to complement shirting with integrated fleece-front gilets and workwear aprons. Down zip-ups and lapeled jackets were presented in a modularly intended range of the three primary colors plus black and white, to support Ganryu’s thesis that through the unprejudiced combination of difference you create infinite possibilities. Almost every garment featured a QR-code patch, which once scanned would take the wearer, Ganryu promised, deeper into that happy utopia.
If I’m Spoiled It’s My Grandma’s Fault Saw It Liked It Told Grandma Got It shirt, hoodie, tank top, sweater and long sleeve t-shirt
It created the If I’m Spoiled It’s My Grandma’s Fault Saw It Liked It Told Grandma Got It shirt Also,I will get this internet-friendly tiered and layered candy-floss creations that fuel his haute couture business, even during lockdown. Some were shaped like swans, some looked like blown-up pleated ribbon; others were Grecian, harking back to the classic shapes of haute couture. He topped them off with hair volumes inspired by 1960s pictures of Benedetta Barzini and Marisa Berenson. They took Zoom looks to new highs. Of his process, Valli explained: “I try to follow what the fabric suggests. I follow it, and it gives me volumes.” But as the film he released alongside his look book demonstrated, his love of sculpture is more than just an analogy for his practice. Encouraged by experience, Valli stuck to his guns and dedicated this unusual season to the volumes close to his heart. “Sometimes I look at other couture houses and I see a lot of decoration. Couture is not about decoration. Couture is about volumes,” he asserted. “When you sketch ready-to-wear, you have to be a designer. When you create haute couture, you have to be a sculptor. It’s the difference between building a space and decorating it.” Employing the tools at hand—the bias cut, dégradé, miles of taffeta—he worked every one of them to achieve the formidable dimensions that embodied this collection.
