Women in impossibly high heels teetered along the long black carpet, which ran down the cobblestone courtyard of the Musée Rodin. With coats abandoned in waiting cars, they shivered as they made their way into the big white tent to see the spectacle designer John Galliano dubbed "More Dior that Dior." Though the economy may be in a ready-to-wear moment, the crowd was optimistic that haute couture will survive.
Bernard Arnault, head of luxury consortium LVMH, which owns the label, conceded that 2009 will be a difficult year. "But there will always be those who demand high quality and originality," he told me. Perhaps more to the point, fashion houses need to keep their brand visibility up: There are lots of perfumes out there to be sold.
Burlesque queen and Dior muse Dita Von Teese, about to open at Paris's legendary Crazy Horse, was spotted outside in a skimpy blue satin ensemble, and actor Marion Cotillard, the new face of Dior beauty, was in the front row. But it was already clear that the celebrity quotient at the three-day display of ultra-luxe fashion, which took place last week, would be lower than usual. Pundits speculated that the stars are becoming reluctant to be seen eyeing such extravagant fare.
The regular customers were fewer too. "I don't see any of the Russians we usually see," said developer Alan Casden, the husband of elegant Los Angeles couture client Susan Casden. He said he noticed fewer Asian and Arab women too. Texan Becca Thrash wasn't going to come, but her husband insisted. "He said I had to come to buy at least one or two things. After all, it's only a small handful of us gals who support couture, and it really is up to us to keep this art form alive."
Galliano's spring vision was inspired by Flemish painting: Van Dyck's aristocrats and the luminous colours of Vermeer. Open, laced shoes with curls of leather adorning the heels and milliner Stephen Jones's theatrical hats - some resembling painterly wisps of clouds - added to the lush drama. Crinoline skirts were opulent in their extreme volume. "It's my job, to make women dream," the designer said after the show.
"This is my first Paris fashion show, so I'm excited," said actor Glenn Close, looking sensational in shimmering black Armani pants. The Italian designer's Privé label has been vying for red-carpet attention for several seasons now, but this time around, Close was the only Hollywood A-lister he managed to attract. There was lots of flash, from an aubergine patent suit to bright yellow and purple ensembles. An Oriental motif showed up in little cap sleeves and "pagoda" trumpet skirts.
On the Rue Cambon, the paparazzi swarmed Keira Knightley's car. "This is my first big fashion show, even though I've been working with Chanel for over three years now," she told me. Inside, a crowded salon was dotted with dozens of small tables covered in laser-cut white paper tablecloths. Huge columns dripped with thousands of white paper flowers, and the soundtrack was of chirping birds.
Karl Lagerfeld did not disappoint. The predominantly white collection was profoundly elegant, with garments intricately beaded, crocheted, appliquéd and feathered. Many of the outfits featured skinny white pants, worn on their own, or as leggings, beneath skirts and dresses. "These outfits would be perfect for the modern bride. And bridal wear is one part of the high fashion business that's pretty recession-proof," observed Dana Thomas, author of the bestselling Deluxe: How Luxury Lost its Luster.
"I absolutely believe that the most creativity happens in dark times," Lagerfeld said. "And even though I don't consider myself to be an artist, this is a great time for artists to express themselves."
Christian Lacroix's collection ran the gamut from relaxed pants and smart little jackets to ultra-feminine fantasies that incorporated reams of tulle. Combined with a rich colour palette - oyster, jade, sky blue, vermilion - were flounces and artful appliqués.
There's no question Riccardo Tisci, the young Italian designer who has pumped new life into Givenchy, knows how to charm his clients. His presentation, held in an old St. Germain convent, started simply with elegant buff suits with big puffy shoulders, followed by hand-pleated silk gauze dresses. The romantic tone was a departure from the tough vibe Givenchy has been doling out these past few seasons. "I used to buy a big ready-to-wear wardrobe every year," said Dawna Muller, an avid couture client from Vancouver, who lives in Zurich. "But now I'd rather just buy a few classic couture pieces, and wear those same precious pieces again and again."
Despite the low-key mood at the shows, the excitement at Gaultier was palpable, with Emily Blunt and Kylie Minogue in the front row. And, just as some major houses are turning to veteran models for their campaigns, former Chanel muse Inès de la Fressange - strikingly beautiful at 51 - did a star turn on the runway.
Jean Paul Gaultier has an uncanny ability to maintain his own signature while exploring offbeat themes. This time around, influences as disparate as the art of calligraphy and late seventies New Wave German pop star Claus Nomi inspired a sensual collection filled with graphic imagery. From the dreamy romance of black ink swirls on flowing transparent trenches to the glamour of a black tuxedo jumpsuit and toreador pants featuring embroidered, transparent sides. "I was also glad that Inès could do the show, because I love all women," Gaultier said with a twinkle in his eye. "And it's important to show that, and not just have the typical young models on the runway."
Finally, those who thought they had seen the last of Valentino Garavani when he retired last year at 75 were surprised to see the legendary designer at the Sorbonne on the last night of couture, showing his support for the two designers who have just taken over, Pier Paolo Piccioli and Maria Grazi Chiuri. Their collection was chock full of classic Valentino looks, from chic ruffled day suits to glamorous but restrained evening gowns. A couple of knockout numbers, in Valentino signature red, were especially appreciated, with the sleek, long-sleeved, backless crimson gown drawing applause. Staged in a great circular hall at the famous university, with breathtaking friezes on the ceiling and a 16-piece live orchestra providing the music, the presentation was a fitting tribute to the importance of couture on the world's cultural stage, and a well-deserved homage to Valentino himself.
Just as I was leaving the backstage, the master pulled me aside. "You must come to Russia next year, and see what I'm doing for the Bolshoi!" he whispered excitedly. After all, the shows must go on.
Jeanne Beker is host of Fashion Television and editor of FQ.