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Flower wreaths, bejewelled face masks, and beard up to the aerial heavens: Paris’s biannual Haute Couture Fashion Anniversary is a time for adventure and fantasy, absent-mindedness and romance. It’s an escape from the mundanity of accustomed life. Alone this division — which sees some of the world’s finest couture houses advertise their collections digitally for the aboriginal time anytime from 6 to 8 July — our admiration to escape feels added burning amidst the austere realities of a all-around pandemic, political ambiguity and ascent ancestral tensions. Ahead of the barrage abutting week, accompany us as we annular up some of the best amazing adorableness moments from couture history ever.

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Valentino Haute Couture autumn/winter 2018.

© Photography Getty Images

As the acclaimed adage goes, ‘The college the hair, the afterpiece to God.’ Whether or not allegorical hairstylist Guido Palau was acquisitive for angelic accord at Valentino’s autumn/winter 2018 couture show, he absolutely captured the blow of the world’s absorption with his aerial XXL bouffants. Think Jackie O, again bifold it.

Chanel Haute Couture autumn/winter 1999.

© Photography Condé Nast Archive

For the Chanel autumn/winter 1999 couture show, Karl Lagerfeld beatific his models bottomward the balustrade in an arrangement of colourful fauxhawks, abacus a jailbait bend to contrarily feminine looks. There was Alek Wek in a white knitted clothes and aerial white mohawk, Karen Elson in a checky red about-face dress and acicular amber do, and the bride, Devon Aoki, wore a ablaze blush ’hawk and a billowing white conjugal cape.

Christian Dior Haute Couture spring/summer 2004.

© Photography Condé Nast Archive

For the Christian Dior spring/summer 2004 couture show, John Galliano had his models walking like Egyptians in one of his best admirable and adventuresome spectacles to date. Dressed as pharaohs, mummies, Egyptian queens and goddesses, models sauntered bottomward the balustrade decrepit in gold. Eyebrows were affected — thick, black, and arched. Eyes were lined thickly in kohl, eyelids coated in argent and gold glitter, with accents of azure in a nod to Cleopatra, while aperture shimmered in brownish hues.

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Yves Saint Laurent Haute Couture spring/summer 1999.

© Photography Shutterstock

Yves Saint Laurent’s spring/summer 1999 couture appearance all came bottomward to its final moment; afterwards a bulk of models in smoker jackets, tailored skirts and pussy-bow shirts, their beard pulled aback and sleek, their composition aphotic and gothic, Saint Laurent’s muse, archetypal Laetitia Casta, aback appeared beneath a awning of flowers in Botticellian splendour. Dressed in garlands of blush flowers, she wore a band in her loose, beat-up hair, her cheeks aflush and her aperture rouged.

Givenchy Haute Couture spring/summer 1997.

© Photography Condé Nast Archive

With fashion’s l’enfant abhorrent Alexander McQueen anew installed at the captain of Givenchy, that season’s couture appearance was consistently activity to be a spectacle. Adopting a palette of white and gold, based on the Givenchy label, McQueen’s silhouettes were cinched in and tailored, while the adorableness looks had nods to classical antiquity. In one look, a brace of Hermes gold wings were attached on to a model’s hair. In another, a model’s beard was ancient into Minotaur-like horns. Added beard accessories included a brace of aureate ram’s horns, beat with a cattle-like adenoids ring, a ambagious account band biconcave in gold, and a wig ancient into a Roman soldier’s helmet.

Thierry Mugler Haute Couture autumn/winter 1997.

© Photography Shutterstock

Taking his cues from Franz Kafka’s novella The Metamorphosis, and afterward on from the antecedent division — which saw his models transform from hard-shelled insects into admirable collywobbles — for the autumn/winter 1997 couture show, Thierry Mugler presented absurd creatures from addition branch entirely. Cue Mugler’s La Chimère, as embodied by archetypal Adriana Karembeu. Allotment animal, allotment alien, Karembeu wore alarming chicken acquaintance lenses, dejected and blooming brownish eyeshadow that glistened like a beetle’s wings and taken appropriate up on to her hairline, black-winged liner and aphotic drupe lips.

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Maison Margiela Artisanal Haute Couture spring/summer 2015.

© Photography Indigital

Recalling the signature codes of the iconic house, for his aboriginal accumulating at the captain of Margiela, John Galliano beatific out models in assorted degrees of facial embellishments. Starting with crystals aloof on the eyelids, again about the accomplished eye, again beyond the eyebrows, on the aperture and button and blind from foreheads with strategically placed chaplet either ancillary of the nose, finally, it crescendoed with a clear and pearl-embellished net mask, topped with a crown.

Jean Paul Gaultier Haute Couture spring/summer 2007.

© Photography Shutterstock

There was article rather all-powerful about Jean Paul Gaultier’s spring/summer 2007 couture show, in which he casting an arrangement of models as assorted Virgin Mary types. There was the innocent Mary, mother of Jesus, her beard beat continued and bouncing and accessorised with a simple halo. Here, composition was soft; blush or dejected about the eyes and rose-stained lips. Next, there was the Madonna/whore, embodied by caricatural ballerina Dita Von Teese with her red lips, jet-black beard and red nails, three bejewelled tears on her audacity and a acme of roses. Finally, there was Mary, queen of heaven, with her gold-dipped lips, ablaze gold lids, bizarre brows and gold clear tears, her beard swept aback in a gold crown.

Christian Lacroix Haute Couture autumn/winter 2004.

© Photography Shutterstock

Recalling the fabulous Gibson girl, Christian Lacroix’s autumn/winter 2004 couture appearance was an Edwardian extravaganza. Think billowing Pompadour hairstyles, alone supersize and spun like amoroso with accents of orange, pink, chicken and green. Pure aerodrome magic.

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Versace Atelier Haute Couture autumn/winter 1995.

© Photography Shutterstock

Gianni Versace’s autumn/winter 1995 couture appearance was a bright affair. Naomi Campbell, Helena Christensen, Claudia Schiffer — all the supers were there, ablaze and shimmying abroad — until finally, Kate Moss appeared as the abashed bride, her beard pulled aback beneath a blind to acknowledge a across-the-board ancillary fringe, her aperture adumbration with a blubbery appearance and her face covered in glitter.

Givenchy Haute Couture spring/summer 2012.

© Courtesy Givenchy

Drawing on the architecture of a aerial academy gym chic photo, Riccardo Tisci presented his spring/summer 2012 couture accumulating in what was styled as a basketball stadium. Dressed in an arrangement of atramentous gowns, anniversary model’s beard was aching aback into a chignon, cartoon absorption to an colossal septum arena or advocate that adorned them, to actualize a faculty of aerial gothic ball and a blow of the supernatural.

Schiaparelli Haute Couture spring/summer 2020.

© Photography GoRunway

Any Schiaparelli accumulating could do here. The allegorical architecture abode is able-bodied accepted for its beheld affluence and faculty of theatre, but there was article so admirable about Attending 29 from Daniel Roseberry’s best contempo accumulating that it would be behindhand not to accommodate it. In a nod to Elsa Schiaparelli’s adulation of trompe-l’œil and added surrealist tropes, composition artisan Erin Parsons covered archetypal Agi Akur’s absolute face and anatomy in breathtakingly admirable embellishments that were mirrored throughout her dress. A absolute couture moment.

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