A big part of fashion's charm is its contradictory nature. And as the collections for fall 2011 unfolded in Paris last week, we saw that enigmatic aspect of the arena in spades. Within the first couple of days, in a wild and provocative display of sartorial theatrics, Lady Gaga walked the Thierry Mugler runway for her stylist Nicola Formichetti's debut as the label's new designer. The two friends and collaborators later boasted that the presentation was "not about the clothes," but rather aimed at bringing some fun back into fashion. At the week's most anticipated show, meanwhile, there was a sombre air of sobriety as all eyes focused on Dior to see how the venerable house would handle the controversial dismissal of its head designer, John Galliano, who had been fired days earlier for making anti-Semitic slurs in public. In light of the scandal, Dior was determined to remind us all that, at the end of the day, it's all about the clothes.
Throngs of curious onlookers and disparate media crews gathered on the rue de Varenne, trying to get a sense of the impending drama in the big tent on the grounds of the Musée Rodin. A zealous, bearded, scantily clad Galliano fan wearing leopard platform boots, a fur robe and a garland of wildflowers on his head carried a placard that read "The King Is Gone" as he gleefully posed for photographers. Inside the museum's gates, pundits commented on how controlled the proceedings were and how it all felt like a bit of a funeral. But when Dior's eloquent president, Sidney Toledano, took the stage and began to speak - his first public comments since the outrage erupted - we were all transfixed, and somehow soothed.
Toledano, himself a Jew, explained how what had happened over the previous week was "a terrible and wrenching deal for us all." "It has been deeply painful to see the Dior name associated with the disgraceful statements attributed to its designer, however brilliant he may be," Toledano said. "Such statements are intolerable because of our collective duty to never forget the Holocaust and its victims, and because of the respect for human dignity that is owed to each person and to all peoples. These statements have deeply shocked and saddened all at Dior who give body and soul to their work, and it is particularly painful that they came from someone so admired for his remarkable creative talent." Never once did Toledano mention Galliano's name. He went on to tell us that Christian Dior's own sister was a survivor of the Buchenwald death camp. Finally, he explained that what was at the heart of the house were the seamstresses and craftspeople, " les petits mains," who work so tirelessly to carry on the vision and values of Dior.
The ensuing collection, Galliano's swan song for the house, was inspired by the dandyism of English Romantic poets. It was classic Dior, rife with dramatic capes, tailored tweed and velvet jackets, jaunty knickerbockers and romantic sheer and ruffled chiffon evening gowns. Rich inky shades, velvets, leather, fur and cashmere offered a luxe edge, with over-the-knee boots echoing a belief that the feet of this house were firmly planted on the ground. At the end of the show, when the flamboyant Galliano would have customarily taken his dramatic bow, the talented Dior atelier team - about 50 of them in their white lab coats - emerged from backstage. It was one of the most moving displays in recent fashion memory, reminding all there of what should always be fashion's true priority.
A play on texture and a nod to chinoiserie, two of fall's big trends, drove Manish Arora's dazzling collection. The Indian designer who's about to take over at Paco Rabanne offered a rainbow of spiked dresses, eye-popping embroideries and appliqués and velvet and suede patchwork pieces that were whimsical and timeless. The Dutch duo Viktor and Rolf also marched to the beat of their own drum, displaying a decidedly militaristic attitude this time out. "Women need to feel strong and protected," Rolf Snoeren said post-show. "We see these clothes as a kind of wearable armour," Viktor Horsting added. Models with blood-red faces strutted strong coats and jackets, in black and ivory, with bold, dramatic lines and stiff ruffles and frills decorating shoulders, sleeves and collars. There were pleated leather skirts and rose motifs that added an edgy femininity to a story hell-bent on evoking power. The pleats and folds of the striking silver evening wear at the show's end packed most of the theatrical punch for these designers, whose biggest battle is walking that fine line between art and commerce.
Bravado of a different nature in the tour-de-force collection sent out by Haider Ackermann. The Belgian-trained designer, who recently became one of the most talked-about names in Paris after Karl Lagerfeld suggested he had the talent to be his successor at Chanel one day, presented a show that was pure poetry: gorgeous draped jewel-tone pieces, masterfully cut and beautifully wrapped, with many looks belted at the waist, all evoking a heartrending romance. Asymmetrical skirts, imaginative layering and tailored coats and jackets with generous, pushed-up sleeves spoke of casual, dreamy ease. Adding to the romance was the soundtrack for the show: a dramatic recording of Leonard Cohen's love poem A Thousand Kisses Deep. While Ackermann's name has been bandied about as one who could potentially take over design duties at Dior, most feel that he'd be better suited to assume the helm at Givenchy if that house's designer, Riccardo Tisci, jumps ship to Dior - something that could well happen. Even if Ackermann stays put at his own label, though, his star will undoubtedly continue to rise. Linda Perisa of Toronto's 119 Corbo boutique, which first brought Ackermann to North America, feels his clothes inspire the women who wear them. "Haider's all about giving women strength," she said.
Based on what Jean Paul Gaultier sent down his catwalk, it's hard to imagine that he was ever considered an "enfant terrible." In an ultra-cool and ultra-wearable collection, Gaultier riffed on fifties, sixties and seventies chic. To the strains of jazz, models sporting big grey beehives strutted clothes that were lush and lively. Colourful retro silk prints, skirts worn over skinny pants and fabulous little fur jackets crossed all age barriers. "There is no such thing as age in fashion any more," said Gaultier. "These are clothes for mothers and daughters. That's what's really chic and modern."
When it comes to modernity, Roland Mouret shines. The London-based designer concocted one of the most wearer-friendly collections of the season by offering different lengths, fantastic cuts and a variety of sporty yet elegant silk dresses you could wear anywhere. There were structured little jackets and both wide and flowing sailor pants as well as slim, tailored trousers in the mix. Colours were right on trend, with a palette of burnt gold and mustard, burgundy, azure and irresistible emerald. "What's great about Roland," said Harper's Bazaar editor-in-chief Glenda Bailey, "is that he makes clothes that women can really wear."
There was unquestionably a lot that women will want to wear from Hermès - if they can afford it, that is. The costly but infinitely classy house has a new creative designer at the helm to replace Gaultier: Christophe Lemaire, formerly of Lacoste, made a spectacular debut for the luxury house, right inside Hermès's magnificent new rue de Sèvres store. "I've always been attracted to the spirit of Hermès," Lemaire said. And he elevated that spirit a notch by riffing on Native American mysticism and Asian Zen, starting off with winter whites (and a live, white falcon-like bird perched on the arm of a model in an exquisite white ensemble) and then transporting onlookers to new heights with a blazing fall colour palette that, when presented in jaw-dropping geometrical prints on a coat or dress, made it seem as though we were watching a sunrise.
Shortly after Hermès's exhilarating presentation, a sad and gentle drama unfolded in a grand hôtel particulier on Avenue Foch. John Galliano's vision for fall was presented quietly, with no fanfare, no TV cameras and what appeared to be only a couple of house photographers. Fashionistas and journalists alike were heavy-hearted as the disgraced designer's namesake collection was strutted by a handful of models in a low-key but decidedly elegant manner. The outfits, from romantic print chiffon dresses to chic forties-style suits cut to perfection, were beautiful and refined. Over all, it was the most heartbreaking display I've seen in my 25 years in fashion. Galliano, of course, was nowhere to be seen. According to reports, he had been admitted to an Arizona rehab centre a few days before.
Whether or not Galliano's eponymous label will go on was the week's biggest question. "It's a shame, but I don't think anybody is going to buy these clothes," Newsweek's Dana Thomas speculated. It's also likely that Dior, which owns 92 per cent of the Galliano brand, will divest itself of the beleaguered company. And at this point, it would seem almost impossible for Galliano to find another backer. The talented but deeply troubled couturier will have to fight very long and very hard to overcome the nightmare he has created for himself. Most poignantly, just before I took my seat at the presentation, I ran into Dior president Toledano, who looked as though he was in mourning. I thanked him for the moving speech he had made earlier in the week, explaining how much it meant to me because my own parents were Holocaust survivors. There were tears in Toledano's eyes as he looked at me knowingly. He said it had all been extremely emotional for him. Paris TV producer Vix Foster, a long-time friend of Galliano, who happened to be standing by Toledano's side, piped up, "He really loved John." Toledano looked at me and nodded. "I know," I said. "We all did."
Jeanne Beker is the host of FashionTelevsion. Her new book for young adults, Strutting It: The Grit Behind The Glamour, was recently released.