Celine Dion posa desnuda y sin retoques para 'Vogue'

Here's a little naked fact to ponder while Celine Dion changes looks between shows: for the past five years she has worn haute couture near exclusively for her own performances (in Las Vegas and on her current "mini-tour" of Europe). She performs a minimum two hours a night, five or six nights a week, dancing and curtseying and generally gesticulating sans abandon, in handmade, hand-beaded delicacies designed solely to walk a catwalk or a carpet (and often with handlers). For Celine's orders, the houses send teams to Nevada for typically three fittings, before the garments are ultimately finished in her local, private atelier. Armani Prive, Schiaparelli, Giambattista Valli, Versace...only a partial list. Everyone, basically. In Vegas, Velcro panels are added to allow for her ribcage to expand or for a quick outfit change. Micro straps of elasticized chiffon prevent a slit from becoming a sloppy situation mid-squat. Shoes—always heels, never platforms—are ordered one size smaller (she is normally a 38) and refitted with metal shanks. Says Celine, "We have to make haute couture industrial." And, more enigmatically: "The clothes follow me; I do not follow the clothes." Which is to say: the haute couture, with all its fragility and handcraft, has to perform professionally for Ms. Dion. And privately as well. Years ago, Celine bought a classic little black dress from the Christian Dior atelier when the house was overseen by John Galliano. It is simple, falling to mid calf, and narrow as can be with just a hint of stretch. It requires a minimum of jewelry, a statement bracelet or perhaps one of the major diamond rings she designed with her late husband Rene Angelil: two pear cuts set in a wide pave band, or two hearts of diamond and emerald abstractly interlocking, on a cushion of yet more diamonds. This LBD forces you to walk one foot in front of the other. This is a dress Celine knows well and clearly loves, the simplest evocation of the private luxury of couture and the total antithesis of the red carpet hoopla that attends the union of fashion and celebrity. It is also the dress she wore to Rene's funeral. #CelineTakesCouture Photo by @sophfei.

Una publicación compartida de Vogue (@voguemagazine) el 3 de Jul de 2017 a la(s) 10:25 PDT

Aquí, un pequeño hecho al desnudo para reflexionar mientras Celine Dion se cambia de look entre espectáculos: durante los pasados cinco años ha vestido casi exclusivamente de alta costura para sus actuaciones (en Las Vegas y en su actual minitour por Europa). Canta al menos dos horas cada noche, cinco o seis noches cada semana, bailando e inclinándose y gesticulando sin parar, y lo hace con prendas delicadas, hechas a mano, diseñadas solamente para caminar sobre una pasarela o una alfombra (y en general con ayudantes). Con los pedidos de Celine, las casas mandan a sus equipos a Nevada para hacer las clásicas tres pruebas de vestuario antes de que las prendas se acaben definitivamente en su taller local, privado. Armani Prive, Schiaparelli, Giambattista Valli, Versace... son solo parte de la lista. Todo el mundo, básicamente.

En Las Vegas se añaden [a las prendas] paneles de velcro para permitir que haya espacio para su caja torácica, o para un cambio rápido. Unas microcorreas de gasa elásticas evitan que una apertura dé lugar a una situación incómoda si se agacha.

Los zapatos (siempre de tacón, nunca de plataforma) se encargan de una talla menos (normalmente calza un 38) y se reajustan con moldes de metal. Celine dice: "Tenemos que convertir la alta costura en algo industrial". Y más enigmática: "Las prendas me siguen, no sigo yo a las prendas". Lo que quiere decir: la alta costura, con toda su fragilidad y su manufactura, tiene que actuar de forma profesional para la señora Dion.

También es así en el ámbito privado. Hace años, Celine compró un clásico little black dress [un vestido negro corto] del taller de Christian Dior cuando la casa estaba comandada por John Galliano. Es sencillo, con caída a media pantorrilla, y tan estrecho como se pueda imaginar, con una pizca de tejido elástico. Requiere un mínimo de joyería, como una pulsera con fuerza o un gran anillo de diamantes, como el que diseñó junto a su fallecido marido, Rene Angeli: con dos diamantes en forma de pera incrustados en una banda de pavé más ancha, o con dos diamantes en forma de corazón y una esmeralda intercaladas, o con un cojín con todavía más diamantes. Ese vestido te obliga a caminar con un pie delante de otro. Es un vestido que Celine conoce y que claramente ama, la más sencilla evocación del lujo privado de la alta costura y la antítesis de esas alfombras rojas a bombo y platillo que se asocian con los famosos y la moda. También es el vestido que llevó al funeral de Rene.

Celine Dion is frustrated by fashion's current revolving door policy, the relentless firings and hirings at the top (amen to that!). She is concerned that "the dream" of elegance is disappearing, for as much fun as she had in her beloved Vetements Titanic sweatshirt (and we have Law Roach for that brilliant post-ironic gesture!), she believe in the magic of hats, gloves and total looks, of a world in which Lisa Fonssagrives could step from the pages of Vogue and through the doors of today's Ritz. Mostly she laments the red carpet hordes with the incessant questions about whose clothes and jewels one is wearing. "Mine" is her answer. Fashion is public for Celine; jewelry is personal. Sometimes, when she is at home in Las Vegas and missing her partner Rene, she slips on a caftan and all her jewels, and quietly retreats to her bath, sans children, sans fans, sans circus. #CelineTakesCouture Photo by @sophfei.

Una publicación compartida de Vogue (@voguemagazine) el 4 de Jul de 2017 a la(s) 7:38 PDT

"They see me; I don't see them," is Celine Dion's line on the great blob of paparazzi and fans that follows her everywhere. She gives them any picture they ask for, plus a great many more. Consider an appointment with at the house of Schiaparelli, where she poses for the creative director Bertrand Guyon on a window sill overlooking the Place Vendome. She wears a tiny whimsical dress of Swarovski chainmail re-embroidered with yet more crystals and high sparkly Victorian boots--a little Twiggy, a little Tina Turner. Says her dancer Pepe Munoz: "That's a rockstar!" Says Libby Hahn, who handles public relations for the house: "I am fairly certain she was a rockstar before she put on the dress." Says Celine's own longtime photographer Denise Truscello (a Canadian cinephile with her own rockstar style), thinking of the long lenses poised on the place below: "Is the dress pulled down in the back?" Says Celine Dion: "They might see my butt, but I don't think they mind." #CelineTakesCouture Photographed by @denisetruscello

Una publicación compartida de Vogue (@voguemagazine) el 4 de Jul de 2017 a la(s) 5:35 PDT

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