Goga Ashkenazi has received mixed reviews throughout her tenure at the Vionnet maison, and this is partly due to the inimitable classicism that Madame Vionnet herself set in stone at the beginning of the 20th century. After all, the bias cut, the one-seam dress and couturier skills of draping (which Madame Vionnet is hugely responsible for) are still felt the fashion world over, and such inimitable and powerful techniques really are the stuff of legends.
Thus, stakes are high both technique and sales-wise, for the Vionnet woman now lives in the 21st century. And this season, Ashkenzi firmly put her woman into modern and contemporary times.
Thus, stakes are high both technique and sales-wise, for the Vionnet woman now lives in the 21st century. And this season, Ashkenzi firmly put her woman into modern and contemporary times.
The traditional Vionnet mechanism of draping, inspired by Grecian silhouettes, was there in full-effect on the satin floor-length gowns and even in the all white bodysuits. Layers of lustrous satins and silks were cinched with gladiator waist-belts, adding a touch of Amazonian Goddess to affairs.
The belts, as well leathered top straps were part of the roughing and toughing up of the Vionnet woman. And this toughing up reached its climax with Ashkanzi’s use of garters underneath see-through chiffons. Nice but naughty, sensual yet classic.
It was ultimately this juxtaposition that created such an advanced collection. Ashkenazi rose to the Vionnet traditions but bolstered sensuality. The dresses and skirts exaggerated a sense of romanticism that flowed threw the collection and the silhouettes and see-through elements of design were the icing on a new stage of the maison Vionnet.
Credits
Text Bojana Kozarevic
Photography Harry Carr