Raf Simons' first couture collection for Dior back in July marked an important new era, not only for the house, but also for the world of couture. The man originally known for minimalism was stepping into unfamiliar and unchartered waters, a place where he must tackle traditions and couture craftsmanship that oftentimes results in femininity and frivolity- something yet to be produced by the reserved Belgian. The show was a success. Simons honoured the house's founder with new interpretations of the Bar and other iconic designs, albeit with a fresh twist. Trousers walked down the runway and were initially met with confusion by those hoping for ballgowns- thinking that trousers surely couldn't be couture? Technically they could be, technically any garment could be, once made to measure with couture techniques. And it was this ironic return to the fundamentals of couture that sparked a rebirth for the aged medium, its place in today's world so often questioned by critics and consumers alike. For this reason, the hysteria for Simons' first couture offering did not fade for his second, shown yesterday in Paris.
The show opened with an immediately softer look than Simons' debut, with volume created by soft folds and drape in organza and satin. The soft touch did not sit quite so well with the tailoring, with wrinkles appearing at the waist of only semi-fitted jackets straining on hidden closures. The previously sharp trousers were now higher waisted, pockets cut close to the hip and void of waistbands- a very nineties look when cut in shining satin. The distracting wrinkles appeared on the trousers too, as well as the straight strapless bodices of dresses. The clean, nineties aesthetic was understandable when Simons explained how serenity was the mood this season, inspired by Christian Dior's love of gardens and flowers and the escapism they brought him, something that resonated with his successor. It was a pity that the fit was sometimes questionable, given that there were some exquisite pieces and exceptionally beautiful elements to the show.
The inspiration gave a more feminine approach to embellishment this season, with sprigs of yellow flowers, splashes of red poppies and clouds of cherry blossom daintily beaded on to delicate silks and fine tulles. Hand made petals flounced over the hips, tiny orange daises crept up the fishtail of a bridal gown and pink roses snaked around the wrists of tulle gloves. It gave the impression that Simons is feeling more at home in the world of couture, but his own taste was evident in the interesting layers in some looks- different lengths of skirt atop one another, clear from the widened hips of a bustier, topped with a sleeveless bolero, sculpted to sit away from the body. The show was at its peak when couture elements sat comfortably alongside his own signatures, and faltered at his interpretations of fit and fabric, but in a world of clichéd couture, his mistakes are embraced, his experimentation welcomed.
Another couturier breaking the mould is Bouchra Jarrar, albeit with five more seasons of couture under her belt. She has created a reputation for her daywear take on couture, seen this season in her tailored trousers, asymmetrical coats and and luxury knitwear with a French aesthetic, something she learned while studio director at Balenciaga. Asymmetry is something of a trend through her past collections, saying "I'm looking for the harmony in asymmetry". It was particularly interesting in her draped pieces, using unexpected materials like tweed boucle and Shetland wool with silk and patent leather, falling from the shoulder.
A more recent addition to the Couture line-up is Ulyana Sergeenko, having shown her second collection on Tuesday. In contrast, her approach to couture is theatrical rather than practical, something that reminds me of the drama of couture during John Galliano's heyday. Gone With the Wind inspired Sergeenko for Spring, bringing with it typical wares from the 19th century of America's Deep South. Scarlett O'Hara's green curtain dress and black gowns of an extravagant widow came down the runway, topped with wide-brimmed straw hats or fine parasols. Off-the-shoulder blouses, onesies, crochet and even a slingshot added to a twee vibe, making this show more costume than couture.
The other couture collections on show this week sank into past seasons for me, Chanel's extravagant display not doing enough to distract me from the tasteless tweed creations with gilt buttons that Lagerfeld reproduces all too often. There were plenty of pretty dresses at the other shows but the only other show to match Raf Simon's intelligent beauty at Dior was that of Valentino. The two couture houses are in fact, very alike at the moment, both now helmed by creative new designers who are successfully breathing new life into their brands, while honouring its beginnings. For Valentino, like Dior, Maria Grazia Chiuri and Pierpaolo Piccioli looked to the garden where beauty is savoured and the toil it takes to create it forgotten- not unlike the beauty of couture and the many talented hands it takes to create it.
Feather-light organza appliqued with delicate floral lace and sequins shimmering beneath layers of sheer chiffon evoked a more romantic garden than that at Dior, the pale colours sure to glisten in the moonlight on a pebbled path. Flowing trains, tulle ruffles and gathered chiffon rustled around silk slippers while hand-rolled tubes of lace wound their way up structured gowns in Venetian swirls. Red broke through the pale sea to add to the idea of a darker romance, with other surprises being the less embellished gowns which concentrated on structure- the cleverest being a red cocktail dress that hung off the shoulder, adding elegance to the cape-like structure that enveloped it.
The beauty of the pieces, like the blooms in gardens, did not come without a price. One gown was covered in a cage of piping which was all hand rolled, with the piping alone taking 500 hours to create. Another outfit, this time an embroidered jacket and skirt, took 850 hours, I have always admired the artisans that create these pieces, and mourned the loss of those capable of creating such pieces. These days, there aren't many trained or practiced in couture, and in the (few) years I have worked in fashion, I have come across even graduates who have never hemmed a trouser by hand. And while I find the demise of hand sewing and craftsmanship distressing, I wonder if such extremes like at the Valentino show (and others) deem it irrelevant to many in the fashion world. Without taking away frm the utter brilliance of some couture pieces this season, it would be more welcome to see these traditions applied in smaller quantities to garments that could be imagined in the outside world. I suppose we shall have to wait and see the Ready-to-Wear collections from Chiuri, Piciolli, Simons and the rest of the creative genii next month to find out if they're thinking the same thing.
No comments:
Post a Comment