When model and actress Greta Ferro wore Mr. Armani's 2009 couture collection on the red carpet at the Venice Film Festival this past week, the fashion plot of "Made in Italy" three years ago seemed to drag our minds back to the rise of Italian designers.

However, nearly half a century later, the leading Italian fashion brands led by Giorgio Armani, Fendi and Valentino have proved with action that haute couture works from Italy are also not to be underestimated, and the deep-rooted clothing tradition and inclusive craft evolution are enough to create eternity.

In 2005, after winning the ready-to-wear market, Mr. Giorgio Armani set out to release his first haute couture collection, and since then his haute couture collection has become a powerful tool for women to compete on the red carpet.

In the past 20 years, Mr. Armani has been implementing the elegant, gorgeous and dignified style of high definition, and has gradually integrated into the design of Japanese kimono with distinctive national characteristics, Oriental bamboo and Asian 絣 fabrics.

In this season's show, full of classical Chinese cutting and flower brocade has become a major feature of the craft.

Even if the various elements are often changed, the noble meaningful represented by Giorgio Armani Prive will remain unchanged, which is why those high-end works created more than a decade ago can still hit the red carpet this year.

The Fendi haute couture collection under the helm of Kim Jones is undergoing a transformation from complex to simple, visually more elegant, but the craft and connotation are more deeply introspective.

"This season, I want to get away from Rome, or at least I want to put Rome in a global context."

"He explained. In this series, we look at fragments of different cities, namely Kyoto, Paris, and Rome. The fragmented nature of things is echoed throughout the work, like fragments of memory or impressions of things past, present and future."

These so-called "fragments" are in fact a big deal, and it is the "Japanism" that accompanied the birth of couture, that is, the phenomenon of Japanese art, design and craft in Europe after Japan was forced to reopen to foreign trade around 1858.

Kim Jones, who loves Oriental culture, is not going to miss this coincidence: Inspired by Kim's craftsmanship, the 18th century kimono fabrics collected from Kyoto, Japan, were rearranged by local artisans to mimic the flow of nature into a piece of a dress. Gold embroidery with Oriental recombination colors and colorful tulle patchwork dress inspired by Karl Lagerfeld's "Broken Mirror" design in Fendi Spring/Summer 2000 collection; Fendi's proud fur suit also incorporates a Mosaic weaving process called "Rope Mountain".

Classical fabrics and techniques do not mean retro styling. Kim Jones chose to balance the overall appearance of the garment with minimalist silhouettes and lines, making it more suitable for modern aesthetics.

The glossy T-shirts and wide-legged trousers, for example, actually use sophisticated embroidery techniques, with extremely thin sequins lined up on top of the fabric to create a satin sheen, or the long dress dresses covered in fine beading, with subtle transitions of color in each embroidery part to create a texture similar to fur pattern.

"Valentino is often seen as dreamy, but fantasy is not illusory, using imagination as a medium to express solid ideas and build emotional dialogue. Fantasy is not the same as a fairy tale, it is like a muscle in the body, the more training the stronger and more powerful."

Valentino creative director Pierpaolo Piccioli once explained. Today, Valentino has chosen to return to Piazza Mignanelli in Rome, where the brand's haute Couture workshop is located, to activate the "muscle" with craftsmanship.

Mr. Valentino's signature, the red "Fiesta" strapless dress with roses in the hemline, became the basis of this season's creativity, which Piccioli transformed with a modern twist, with huge three-dimensional rosettes of red and pink taffeta adorn everything from the dress to the corset to the heels. At the same time, his good feather decoration and fluorescent color contrast also make the whole series exquisite.

In a pre-show interview, Piccioli explained that "it's a very personal collection because it's all about the history of Valentino," and as we watched hundreds of models slowly descend the Spanish Steps in Rome toward the doors of the Valentino Haute Couture studio, The history of art and craft is no longer a secret.

The time is "Shocking! As The Surreal World of Elsa Schiaparelli opens, Daniel Roseberry's new season of Schiaparelli Couture at the Museum of Decorative Arts in Paris is more of a warm-up event.

Roseberry's creation serves as a reminder to anyone who's been reading the classics of Yves Saint Laurent, Jean Paul Gaultier, Azzedine Alaia and Christian Lacroix, It was Elsa Schiaparelli's pioneering ideas and vision that inspired these subsequent designers.

While following the rich creative heritage of the brand's fashion house, Roseberry chose to complement these timeless creations with superb modern craftsmanship.

The colorful flowers blooming in the waist and chest are combined with organza, embossed leather and corrugated paper behind them to outline the natural color of each petal by hand, and then assembled and fixed in a specific position of the garment to create a visual impact of flowers; The metal grain on the oversized profile is not molded in one piece, but the golden leather is cut into fine strips, and then combined with tubular and round beads to create a realistic dynamic feeling.

And by the brand has always been close Allies, accessories designer Marine Billet completed the accessories work is also amazing, simulated plant vines from the ear to the chest of the long pendant, with light green pearls to show the delicate and beautiful feeling of grapes; At the end of the show, the chest chain, which mimics the veins of the heart, was made by Billet with red rubber paint connected with pearls of various sizes.