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Inside Dolce & Gabbana's Alta

For entrepreneurs, only some of editors are invited. As an alternative, the salons of the Milanese penthouse where it's used are mainly filled with leading and buddies of the house -spending customers - with husbands in tow. There is absolutely no seating strategy; here, the 150 visitors are permitted to take a seat wherever they please, and finally, you won't ever see these garments on the rear of a famous person - no matter what their status - because actual couture clients don't want to see their gown paraded on anybody else. Every Alta Moda piece is a-one-off; it operates on a first-come, first-served basis and, as a consequence, the feverish contest to purchase when the last model departures is palpable, also in this great room scented with expensive perfume and a thousand blooms streaming from vases and pergolas.

 

The next fashion collection of the Dolce Gabbana perfume is marked by this time. They stated they wanted to change women into living artwork and in this, it seemed as if they'd rifled through the art selections of the many elite clients: Van Gogh's sunflowers were replicated in a silk dress with jewel-set sleeves, while Manet's white lilacs popped up elsewhere, and therefore, too, masterpieces by Renoir (in fact, these items are the result of extended discussions with international museums as a way to secure reproduction rights). Else where, billowing ballgowns in good black tulle were bedecked in numerous cotton roses, therefore wide they skimmed over guests' toes as each one wafted by. Flooring-following pyjama layer-dresses in candies pink edged in bordeaux piping with crystal buttons and brushing bend devices followed. There were plenty of evening-appearances to excite too, ideal for advantage luncheons the world over - an off-the-make midi-length dress in cornflower blue was especially quite.

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