另一篇时尚评论（来自Dandy评论家哈密什·博尔斯，评论找不到中文版）：
JULY 5, 2011 3:18 PM
by HAMISH BOWLES
“The most beautiful thing about the couture is the devotion,” said Giambattista Valli after his debut at Paris Haute Couture on Monday. That devotion—to time-honored craft and technique—was evident in every piece in the chic and understated collection that Valli presented at the early-nineteenth-century arcade where he has recently opened his boutique, a stone’s throw from the Faubourg Saint-Honoré. By turning the length of the black-and-white–tiled gallery into his runway, and setting rows of ballroom chairs on either side, Valli effectively gave each of his guests a front-row seat to admire the refined detailing of the clothes. And what a front row it was: The age-irrelevant Valli Girls are the best-dressed It Girls around, from Lee Radziwill and generations of Brandolinis and Dellals, toDaphne Guinness, Princess Clotilde, and Elisa Sednaoui.
The show opened with a white tunic shirt of the type worn by mannequins in an old-fashioned haute couture cabine in between fittings, pulled down like a skirt and worn with a black turtleneck embroidered with a trompe l’oeil necklace of real pearls (mimicking Valli’s own signature rope), a gesture that the designer intended to symbolize that this couture was a “work in progress.” And Valli didn’t explore any radical new silhouettes here—instead, he remained firmly in his comfort zone, staying true to the early-1960s couture shapes that he loves, and paid subtle homage to Rome’s haute couture Dolce Vita of that period, with odes to the stiff architecture of Roberto Capucci, (with whom he once worked), and the romantic embellishments of Valentino, in beading of pink or white coral branches and white porcelain flower heads. VaVa’s spirit was also present in the animalier prints, and the very finely pleated chiffons (even in a strident lipstick red) that are a specialty of that house. Those fragile chiffons were cinched with Lalanne-esque metal belts created by Valli’s partner Luigi Scialanga. “I wanted them to suggest the arms of the man around the waist of the girl,” explained Valli, “ —sauvage, wild, strong, against the fragility of the clothes.”
The ice-blue chiffon goddess dress and cape that Princess Charlotte wore at the ball to celebrate her uncle’s wedding in Monaco two nights before (so evocative of her grandmother Grace Kelly’s Edith Head–designed gowns in 1955’s To Catch a Thief) was a preview of one that Valli presented on the runway in brilliant red, and the frothing tulle ball-gowns in his finale evoked his recent wedding dress for Charlotte Dellal—and showed that he can not only claim the most coveted clients on the planet, but that he can dress them with timeless elegance and panache too.
