Atelier Versace 2015 Spring Couture

Versace screams sexy.As evident on the Red Carpet-Plunging necklines,slits,skin shown in the most sexiest way.This year's show no doubt didn't disappoint on the "scorching hot" meter.The models had curves..courtesy of Donatella...Perhaps?
If sexy exists over a spectrum of two points -- on the one side, a maternal, supple, cups-runneth-over femininity, and on the other side, a lithe, powerful, aggressive one -- the Atelier Versace presentation in Paris on Sunday made a case for the middle ground. Donatella Versace's haute couture gowns, featuring sweeping transparent panels and graphic cutouts so precise they barely covered nipples and other typically-covered areas, created the illusion of extravagant curves with laser-sharp precision. The budget for double-sided tape alone must have been impressive.

The clothes should come as no surprise, not only because it's Versace, but also because these kinds of gowns have been embraced on the red carpet, seen on A-list stars such as Jane Fonda, Jessica Chastain and, most revealingly, Kate Hudson.

Versace also enlisted an A-list cast of models for the spring presentation, including Caroline Trentini, Natasha Poly, Joan Smalls, Jourdan Dunn, Taylor Hill, Lindsey Wixson and Anna Ewers. The show was finished by Karlie Kloss, Eva Herzigova and Amber Valletta (in that order), wearing the collection's most daring jumpsuits and dresses. Even the pants throughout emphasized curves --  every pair was flared.

And as for the three "emoji"-emblazoned dresses and boots? The effort to wink at "what the kids are into these days" fell flat. Graphic symbols are not emojis and among such intricate gowns, these mini dresses felt too contrived -- a false note in a collection where revealing silhouettes were the center of attention.

The music crowd is a much more freewheeling bunch: They're on a wavelength that Donatella is utterly attuned to. 

Front Row Style - Dior 2015 Spring Couture

Christian Dior Spring 2015 Couture

So,this is the prime of couture shows and Dior House boasts one of the best of 'em.So,I took it upon Style.com to be my source on "blogging" about Raf Simon's collection. The article was written by Tim Blanks and it has aptly described the show in words. 

Raf Simons has always been open about his inspirations. Often, it's been a case of wearing his heart on his sleeve, all but literally, which has given his work an extraordinary amount of soulfulness. That's appropriate, given that music is his master. Simons' Couture show for Dior today was permeated with his respect for David Bowie. "He's a chameleon, able to reinvent himself," Simons enthused. "But he's also the materialization of something else. More than a man—an idea." Much like Mr. Dior, in fact. The name "Dior" has come to represent so much more than Christian himself, and it's now fallen to Simons to winkle out all that meaning. 
Take one ingredient—maybe the unlikeliest—of this couture confection: plastic. The first look was a sequined guipure lace shift topped with an opera coat in a green floral-printed plastic, anchored with vinyl thigh boots. The second look featured the same boots, same coat, this time in black, with the dress encrusted with embroidery. The romance of couture salons in the ’50s, the strung-out experimentalism of the ’60s, the anything-goes-ness of the ’70s…Simons rolled the universe into a ball wrapped in plastic. It's a hard task to pick highlights from what followed. Minutely pleated flaring dresses and skirts embroidered in strips of ribbon had an ineffable, irresistible lightness. A tiny sequined shift topped by a floor-length coat made Edie Sedgwick new again. (She's one fashion icon who will never fade away, but a little freshening up never hurt.) And the things that were done to guipure lace in the name of haute couture were the stuff of a beauty obsessive's dreams. After the show, Simons was musing on his road to here. "My first Couture shows were exercises in understanding the history. The more you understand, the more you see what it can become." There were none of the Bar silhouettes that are Dior's genetic building blocks, but there were plenty of another kind of building block: bodysuits, in jacquard knit or tattoo-embroidered silk. They'll probably be the most divisive element in the collection, but they illuminated its most significant aspect. Simons claimed Dior for himself today. If he appreciates David Bowie's chameleon quality, he proved that he is just as capable of reinventing himself. In a mirrored venue that was deliberately designed to stretch space outward and upward, Raf Simons took us on a trip—and tiny minds were blown.

For Simons, it unfortunately still means something a little too "lady" for his tastes. He's resolute about changing that perception. He is keen to create connections for couture that wire it to the wider world. That was all over today's show, from the materials used to the graphic silhouettes to a color scheme that kicked. Bowie used to call himself a medium. Simons is cut from the same cloth. The collection he showed was a stunning multilayered effort that spanned time and space, imagining the future as seen by the past, reimagining the past with the hindsight of the future, all set to a soundtrack of songs spanning key years in the career of a performer who has always done exactly that with his music. The conceit was simple in essence—Simons and Bowie giving each other a little soul love—but devastatingly sophisticated in its execution.