Diane Von Furstenberg’s Spring Show Was Fit For A Princess
Oh, to be young, beautiful, and a princess. That was the idea behind Diane von Furstenberg‘s spring collection, which was shown in New York yesterday in a theatre strung with mirrored lips, the designer’s iconic logo. DVF, however, wasn’t courting Kate Middleton, nor conjuring a Cinderella tale, but rather looking back on her own past and the years she spent as Diane, Princess of Fürstenburg, traveling the world with a bohemian spirit and a title in tow.
Along with creative director Yvan Mispelaere, the designer christened the collection “Palazzo” and took her customer on a veritable trip around the world. The first looks were Roman Holiday-ready — draped dresses in black, white, and red. Silhouettes were billowy as we headed south for Marrakesh, but the easy ensembles were lent an urban appeal by sequin embellishments and chic silver belts. We have our eye on the bauble-adorned Sanaa sandals and a glamorous caftan worn by Josephine Skriver that shimmered as she walked down the lip-lined catwalk.
Proving yet again that she is truly a designer’s designer, many of DVF’s famous friends with empires of their own came to show their support. Oscar de la Renta, Reed Krakoff, and Valentino Garavani took their seats front row next to editors and friends like Sarah Jessica Parker. We had the chance to speak with Mr. Valentino before the show began, and he expressed just how much he was been enjoying life since his retirement in 2008: “Oh, I am very happy. The ambience! I am full of pleasure and I feel very humbled. I am here just because I am doing the costumes for the New York City Ballet, but I came to see Diane because she is an old friend of mine.”
We have to wonder what he thought of the Google Glass technology that debuted on a handful of models in the show and on the designer herself as she walked the runway following the finale. After all, he is no stranger to tech-y pursuits himself, having opened the Valentino Garavani Virtual Musem just last year. Just as the museum gave us thorough access to the house’s archives, the Glass opened up a unique behind-the-scenes perspective on the show through insiders’ eyes. Between the fanciful, modern ensembles, the revolutionary device, and the stalwart front row, we felt like we were witnessing a royal wedding between the old and the new.