Did you know? @leje.official dress created for EJAE for this year’s Oscars stage draws inspiration from the ceremonial court attire of the Korean Empire from over a century ago.
This piece continues the story of her uniform first seen in Huntrix, while visually expressing the “shining moment” described in Golden.
At the center of the dress is the Mugunghwa, the national flower of Korea.Blooming again and again, it symbolizes eternity and resilience.
Surrounding it is the Dangchomun, a traditional vine motif representing the flow of life and prosperity, extending the symbolism of the Mugunghwa.
The dress is built on pure white, reflecting Korea’s tradition of white garments, and finished with gold-gilded bronze ornaments reminiscent of ancient Korean crowns, expressing the symbolism of light embodied by Huntrix’s Lumi.
All metal ornaments were crafted using traditional techniques by a Korean metal artisan, a master Duseokjang.
Upclose with the surrealism of #SCHIAPARELLI. SOO BEAUTIFUL.. THAT peacock feather dress is breathtaking in its details..
I will be posting videos later.. 😏
📷 @couturenotebook
#hautecouture#coutureweek
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Performance art by Brazilian textile artist @lucianaborre_ 💕💕💕
The Scent of Time is an art project she has been working on for many years inviting others to participate in crocheting these dresses.
Fashion exhibitions are no longer occasional crowd-pleasers tucked into museum calendars between Old Masters and contemporary retrospectives. They have become one of the museum’s strongest cultural attractions — capable of drawing audiences that more traditional exhibitions often struggle to reach, while giving curators an unusually flexible way to talk about craftsmanship, politics, identity and the body.
This summer’s programme makes that shift particularly visible. In Paris alone, museums are moving from eighteenth-century court dress at the Palais Galliera to African fashion histories at the Musée du quai Branly and Thai royal couture at the Musée des Arts Décoratifs. Berlin reconsiders Madame Grès through the lens of sculpture, Antwerp revisits the radical legacy of the Antwerp Six, and Brooklyn immerses visitors in Iris van Herpen’s otherworldly couture universe
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These are just "some" of the exhibitions I have selected. You will find a more detailed list on the website. Link in bio.
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Happy reading!
Take a closer look with me. This is not a painting!) but an embroidered artwork by Wang Xinyuan 王新元 Traditional Craftsman 傳統工藝師 National Intangible Cultural Heritage Bearer of Guangzhou Embroidery 國家級非物質文化遺產 一 廣繡 一 傳承人. 💕💕💕
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50 shades of black alone were used in the background.
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Absolutely mesmerising, now on display the Royal Society of Sculptors as part of Crafts on Peel presentation for London Craft Week.
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📷 @couturenotebook /@luxartasia
#embroideryinstaguild #embroideryart #embroiderywork
When old meets new.. @amitaggarwalofficial revived a two-decade-old chikankari sari and reimagined it into a couture perfection, with his signature materials: rubber cord, recycled glass, and hand-formed beads. 💕 💕
Artist @a.a.murakami shows us how he created that amazing real bubble dress in collaboration with #irisvanherpen for the Met Gala.
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From the beginning, the process involved constant experimentation, testing different techniques and technologies through trial and error. The challenge was how to compress his immersive installations into a wearable garment. What appears simple was in reality incredibly difficult to achieve: maintaining a continuous and steady flow of bubbles, controlling their scale so they matched the proportions of the glass bubbles, and engineering the system so the machine could operate autonomously and almost silently.
It was never only about creating the technology for the dress, but about creating a moment; fleeting and suspended between presence and disappearance.
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For me this was very much #performingart
As much as #artfashion
UPDATE:
ALmée Couture has issued a statement addressing the controversy surrounding this recent gown design, claiming the piece was originally developed by the house as part of a cancelled couture commission.
According to the brand, while the client initially referenced cathedral-inspired imagery, ALmée says it created the final artistic direction, sketch, silhouette, structural detailing and couture execution of the design. The house also states that, following the project’s cancellation and refund, it retained ownership of the developed sketches and design work.
ALmée further stated the gown was later produced elsewhere using its original design direction without credit. The couture house stressed that it is not claiming ownership over the cathedral concept itself, but believes the creative development and execution of the final design deserved acknowledgment.
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These are two different dresses..
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On the left, the Royal Obsidian gown by Almée Couture from last year.
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On the right, the dress that's generating buzz after the AMVCA gala — this one by Abbas Woman.
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Both are striking, there's no question. But aren't the similarities a little too close for comfort?
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Where Almée Couture relies on exquisite beading and embroidery, Abbas Woman hand-painted the dress and introduced a built-in lighting element — an interesting touch, even if it feels slightly gimmicky.
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The concept do radically differ in execution, but the overall aesthetic feels very familiar — and when a design is this distinctive, that's hard to overlook.
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What do you think?
