Despite the depressed economy, a small but passionate army of clients and devotees descended on the fall/winter 2009/2010 haute couture shows in Paris this past week. "Who can resist Dior?" one Russian fan said of her favourite design house, whose elegant collection was accented with bold Stephen Jones hats.JACQUES BRINON
When I first learned that this past week's Dior couture show was taking place at the house's Avenue Montaigne headquarters, I was certain it was a sign of the times: The new economic reality was finally doing away with those showy presentations of the past.
But stepping into the elegant, flower-filled couture salons, I realized that the choice of venue may not have been solely about cutbacks, but also an attempt to make a statement about the essence of haute couture. With a limited yet passionate group of international clients still willing to spend tens of thousands of euros on these one-of-a-kind creations, the few houses that still concoct couture are determined to remind us all of its relevance in both fashion and culture.
"When I think of all the intimate presentations that Mr. Dior used to give here, I'm just so inspired," Dior designer John Galliano confided as the champagne flowed during the post-show reception.
"For us," Dior president Sidney Toledano added, "it was about getting back to what's at the heart of the house."
The collection was an ode to elegance and sexuality, with many of the nipped-waist silhouettes featuring an air of drama and playfulness. Bold Stephen Jones hats - some with huge, feathery pairs of wings - were great complements to the vibrant theatrical pieces, many which were teamed with retro-looking lingerie. Some of the dresses revealed corsets underneath, and garter belts accentuated waistlines. This notion of coquettish "undress" was a trend that surfaced again throughout the week, perhaps stemming from a question many fashionistas have begun to ask: to dress up or not to dress up?
Although they acknowledged that spending a fortune on clothes was something they were keeping quiet these days, many clients admitted that they are still happily indulging. "Who can resist Dior?" asked Bella Tchaikovsky, a die-hard Russian patron of the house.
"There are those people with money who will always have money," Stephen Jones said. "I can hardly believe it, but our handmade hats have been selling extraordinarily well."
Such success, however, isn't pervasive. Christian Lacroix, one of France's most illustrious couturiers, has fallen on hard times. His house, which recently filed for bankruptcy protection, staged only a small but poignant presentation, mostly in black and navy, courtesy of his hardworking seamstresses and craftspeople.
While Lacroix will always have a brilliant career designing for ballet and opera, the future of his business is uncertain unless he finds a new investor, and he's considering axing more than 100 of his employees. Still, he holds out hope that he'll be able to eventually resurrect a high-end ready-to-wear label, continue with custom couture and use his respected name to sell sunglasses and fragrances.
On the other hand, Giorgio Armani's multi-billion-dollar empire is easily strong enough to support his uberluxe Armani Privé collections. And this season, he went all out. Chic pantsuits started the show and resurfaced in a variety of glamorous lamé fabrications, with jackets featuring peaked shoulders.
Actress Cate Blanchett was especially taken with the sleek suits, which she called "very understated and elegant."
But when Armani took his bow, concerns were raised over the master's health. He looked gaunt, and declined all post-show interviews.
At Givenchy, which staged its collection under the big canopied roof of La Halle aux Chevaux in Parc Georges Brassens, there was incense in the air. The eclectic collection, designed by Paris couture's youngest creator, Riccardo Tisci, drew on an exotic mix of influences, resulting in black and gleaming red-carpet gowns, shiny harem pants, ornate jackets and dramatic veiled looks.
"I'm fearless," Tisci explained backstage. "I'm young. And I have a lot of confidence now in my technical skills. I feel I can do anything."
"Tough softness," ventured Karl Lagerfeld, describing the sensibility of his collection for Chanel. Panels of fabric, many detachable, fell from the backs of coats, jackets and dresses - a modern twist smacking of the kind of elegant whimsy Chanel is famous for. The classic tweed suit was given a twist with the hanging panels, and asymmetrical satin dresses punched up the collection's linear feel.
"Comfort is what it's all about for me," said Mickey Rourke, on his way into the Jean Paul Gaultier show. With Cinematic Glamour as the theme, Rourke fit right in. "I was always watching those great old movies when I was a kid," Gaultier reminisced backstage. His riff on Hollywood oozed high drama. From a draped, metallic-mesh gown to French blue crocodile overalls topped with a red fox coat, the offerings were eye-popping.
"Couture is the Michael Jackson of the fashion world!" famed milliner Philip Treacy said backstage at Valentino. "They're both about ultimate artistic expression." Treacy, who designed some shredded veils for the ultra-feminine Valentino collection, had, like many others, been reflecting on the legendary showmanship of the late pop star.
"The way Michael Jackson danced with his hat was so genius. It became an extension of him," Treacy mused. "And he made all that technical perfection look so effortless."
It is that very quality that is also at the heart of great couture - and the duo now designing Valentino, Pier Paolo Piccioli and Maria Grazia Chiurli, got it right. Their collection was all black but never oppressive. Transparent tulle and delicate lace, often lined with ivory and blush silk, resulted in a sensual fragility.
"We wanted to remain true to the spirit of Valentino, yet propose clothes for the new generation of clients," explained Piccioli. "But remember, youthfulness is a state of mind," Chiurli added. "These dresses are for women who simply think young."
Having the financial means to indulge is, of course, another criterion. But if one truth stood out during this past week, it was the ability of couture artistry to transcend dismal economies. Sure, some designers are taking a more practical approach, but trying times sure do make for great creativity.
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Jeanne Beker is the host of FashionTelevision.