The idea of Paris as a synonymous of couture lost its roots back in the time, but still the portrait of its elegance is one of the most actual and vibrant impressions that could be felt living this environment also if for a few days. This feeling is even amplified if these days are those in which the city reveals his magic condensed in a week and dresses up herself as in the best cotillions’ tradition for the presentation of couture’s creations…here’s my report.
MODE à PARIS: COUTURE
Edited by: Matteo Menotto
Josse’s collection is pervaded by an aura of fairy harmony that brings the audience to a dreamy world where models like fairies progress over the catwalk. Melodies of arches re-arranged in modern keys accompain the faded lights turning up at the passage of the girls. Then a carillon plays and lights go down while the eviroment listen quietly as falling asleep. There’s total silence and suddenly a reprise of the initial arches to accompain the coming out of last masterful pieces. Silk and impalpable pale colours, made of light chiffon fabric, go along with a game of soft transparencies and revolve the accent of this collection around a clear use of white. The first dresses of the fashion show are short, simple-style cocktail dresses with drapes and precious decorations such as lurex embroidery, ruches, feathers and shiny sequins add a tone to these creations. The rhythm develops towards a sequence of long evening dresses, mostly of pastel colours but with touches of black mainly in lace, tulle, chiffon and taffeta fabrics. Josse’s story goes on up to the final appearence of the collection wedding masterpiece: a white tripudium of silk, duchesse satin, chiffon, lace and with a tie of ribbons and tulle. When the music ends and the fading light turns back to reality, stil the magic pervades the environment, leaving a dreamy memory of the show, ust like in a firytale.
The rain out of Rodin’s museum contrasts with the strong colors that inside create the setting of Dior’s show. A turning scenography brings from the backstage to the long catwalk, ret carpet covered. There a collection is inspired by the creative work of illustrator René Gruau goes on stage. The creations winkle to the style of the Fifties and the timeless elegance and the glamour of those years. Galliano’s work reflects an influence from fashion and customs of the Dior’s collaboration with the illustrator. It was in fact Christian Dior, who first found in Gruau, in his drawings and in his illustrations, the key to communicate the style and the elegance of this fashion house. The power of his sketches and the strong contours that he designed in his silouhettes, here are brought to life in garments that are precious in form and in the fabrics; draped capes, silk dresses layered with tulle, embroidered and made unique by jais degrade or by inserts of lace. A palette based on red, black, brown, grey, beige, fuchsia, pink, blue, green, white, biscuit, pale blue defines the clearly Fifties’ style silhouette made of silk, tulle, lace and silk layered with tulle declined into draped capes and dresses, hourglass shapes and abundant sleeves, slim waitlines and wide skirt volumes. The makeup duplicated the mesmerizing artifice of the iconic creatures Gruau drew for Dior and ostrich feathers completed the look of sculputered hats, in a show where every piece rcalls to the idea of the highest couture times.
Geometric arches defines the space of “palais de chatillon” salle where Lebanese designer Elie Saab presents his maison’s creations inspired by an adolescent woman dressed in long and vertical lines, fragile but precious in her natural spirit. “It is a fresh, clean breeze thoroughly spring-like that cleanses colours, fabrics and forms”. The palette includes pastel tones with accents of lilac, butter white, transparent black and some declination towards mustard and red, with an inspiration that goes from the precious 19th century lingerie to a homage to Chinese culture. The allure is sinous but never excesses, more soft than provocative, with a romantic attitdue, tapering lengths and a waist that is marked, but slightly raised. Fabrics are a high combination of tulle, organza, chiffon and evanescent lace, where tone on tone embroidery is combined with ribbons and grosgrain bows.
The invitation with a safety pin gave already a hint to understand that Jean Paul Gaultier would celebrate his concept of “punk couture” mixing it with the spirit of belle-epoque. Models walked around carrying outfits numbers as in the good old atliers’ time but where hair-combed as young punkish girls. But indeed there was more than this. There were elaborate Mohawk hairdos (tulle cascaded from the bride’s at the finale), the odd dog collar, and some cropped bomber jackets. One of them was crusted with metal pearls. Another, gracing an outfit named “Vicious,” was indeed decorated with chains and studs, but it was draped over a black crepe sheath with a flounce of tulle. The ripped ‘n’ torn aesthetic was in full effect with an ensemble that featured a raggedy beaded top and a silk skirt falling to pieces. Gaultier revisited his favorite alt-Parisienne, the concierge, in a printed mousseline jumpsuit wrapped in a long cardigan in a similar print. And his signature piece—the trench—gained a new length, lost a shoulder, and came up rose-colored. Shapes were slim and tapered with the exception for hourglass dresses slightly flared at the bottom with small balloon bags enriched by Swarovski crystals and maxi chandelier earrings. A complete encounter between Parisian past allure of the Belle Époque and London rebel spirit.
A research over lines composition makes the strength of this collection.”I’m fascinated by asymmetry,” asserts infact Bouchra Jarrar after her show. “I’m looking for the harmony in asymmetry.” The graphic of lines revitalize the classic garments of the wardrobe. Asymmetries appear in the fastenings and buttoning, contrast profiles, hems given movement and accentuated through different color combinations and textures. Soft and loose dresses or wide outfits that give total freedom of movement but always clear in their forms – oriented in a long shape figure declined into a soft palette of white, black, grey, caramel, beige, pearl, red, ice. A large use wool cloth, fur, satin, leather, tweed, jersey, silk, chiffon where leather accessories complete the frame of this creaitons.
The glamour created here is filtered by a certain vague of pop culture and glitter in any shape or form dominated the show. Lamé, gold, sequins, you name it. Vauthier showed very low cut necklines, a cropped jacket made entirely out of tiny metallic pendants resembling snakeskin, lamé jumpsuits, white silk, and high leg one-piece bathing suits. Asymmetrical tops with one bare arm also dominated the catwalk. A defined idea of attractive femininity pervades these creations, while the designer confirms his collection of clingy dresses and trouser suits worn with big-shouldered blouses that slide to a sparkling evening of metallic fabrics, with silk jersey tha transforms from pearl/beje tones to gold coloured or optical printed silks protects by fur. A recall to Mugler’s 80s silhouette withextra-large shoulder pads and tiny waists combined with V-shaped top, sensible to a certain dsco-themed aesthetic of the 70s. Glamorous, somehow extravagant, attention-attracting, rich and definitely feminine. Pourquoi pas?
A clear inspirations links Rolland’s creations to the architectural work of Zaha Hadid in forms and volumes complex but harmonious. A further tribute is given to the photographies of Edward Weston and a journey to India: spirituality and the search for pure and perfect form. Simplicity that becomes precious thanks to details, cuts, inserts, drapes, fabrics and geometrical forms made of asymmetrical lengths, balloon shoulders, curls and experimental volumes on silhouette that variate from wide to super slim. Colors include white, black, flesh, bronze, brown, gold but also saffron yellow, orange and green and fabrics choice present silk, shantung, satin, drill, sequins, lurex, chiffon, sequins and crystals.
“Collection 012 brings forward the idea of clothing as an “essential luxury”, one that goes through rigorous discoveries of the structure of the garment. Without neglecting the quality of the materials used in his creations, Gustavo Lins encourages further thoughts on the use, the long run and the necessary adaptation through changing times. This return to the fundamentals of couture gave birth to thirty strong pieces that are clearly influenced by the menswear wardrobe, infused by the constructive know-how of a couturier and softened by the presence of knits. Once more, the proximity of the men’s and women’s lines is further deepened this season: the declination of the masculine silhouette towards the feminine universe represents a fulcrum of these garments. Elegance is searched in limpid and right, with no dryness nor overload and sobriety and refinement of finishes allow the reversibility, the double use and the transition from day to night.
Extravagant art pieces make the highlights of this presentation. Maurizio Galante considers his creations as art-objects, like elements of body architecture in dynamic motion. In this collection there is a continuous search for equilibrium between simple and complex, rational and irrational on a fantasy of colors which struck the eye and touch the imagination. Garments live between fashion and art, like the bolero Colors of Life, created by Arlette Vermeiren with recycled materials.
Maison Rabih Kayrouz adapts the heritage of Couture to the Ready-to-Wear industry.
This straightforward approach which advocates impeccable craftsmanship is an evolution rather than a revolution.
It is a sensuality drawn from passion. The concept of luxury is constantly changing; as is its denomination “Haute Couture”. At the “Couvent des Cordeliers” the collection presented is describ in poetry lines as
Une approche épurée… un vêtement, une fonction, un volume, une couleur… Une évocation de la noblesse et de la force du vêtement de travail…envie d’uniforme, de tablier, de plastron, d’habit…Des contrastes entre…cuir , gazar, cachemire, organza… et satin, mousseline lamée et maille fine… légèreté… et massivité… Des couleurs monochromes… … bleu nuit, rouge écarlate, blanc neige, sable doré, vert, ardoise, pivoine… Des coupes maîtrisées… … en rondeurs, enveloppantes, protectrices… … des tailles soulignées…Des vêtements qui apportent une grâce même dans la manière de les porter.