Haute Couture is not dead!

Haute Couture is the quintessence of liberal creativity, which Prêt-à-Porter tends to disregard, thrown into economic strategies of trending and overly accessorized presentations that appeal to status symbol logo maniac clientele. Couture is the place where a certain freedom and creative exuberance abounds, couture showcase the extent of a designer’s creative environment and ideas. This season the fashion clad and celebrity spectators have reconciled with the enthusiasm of the couture shows. Critics and onlookers applied anew seldom used phrases such as « the best show ever » while referring to established Maisons of Haute Couture such as Christian Lacroix, Chanel, Valentino or Dior.

LIKE A VIRGIN

Valentino kept his show strictly white with the strong conviction that this virgin colour is the purity and essence of haute couture. « White does not forgive a flaw » he stated providing an Audrey Hepburnesque style. He proved that he himself and the atelier he is working with do perfectly know their trade and proving that he and the ateliers he is working with do very well their handicraft. By playing with different style elements such ribbons, tulles, embroideries, laces, silk and transparency the legendary all-in-white show from 1968 gained in maturity and modernity.

The virgin theme was a rather recurrent one, having also inspired the holy universe of Jean Paul Gautier whose theatre was transformed into a somewhat conjuncture between a church and heaven. But attention please! The pure and white innocence was not the main theme of the show in which the pin up Dita von Teese walked down the catwalk. It was more a deep research in religious codes: from orthodox to Catholicism up to Mexican colourful and almost kitsch influences. The models entered the pure white podium with lavish decorated glorioles, church registers and plexi glass bags hiding golden religious objects in a colourful background. But the decoltés and big graphical inspired cut outs on the back proofed that there was not the intention to send those girls to their First Communion but to the Pop Madonna by closing the show with the clin d’oeuil « LIKE A VIRGIN ».

The Madonna appeared as well at Franck Sorbier wearing a red tunic with golden applications and a crown as well as a darling puppy dog sporting exactly the same clothing. Religious themes where more a background support and were considered as a contrast to the golden carcass that decorated the catwalk.

GO EAST

DIOR 2007: Geishas moving gently to the soundtrack of „Madame Butterfly" in dresses worked like paper with Japanese origami applications that came in very strong colours. Extraordinary make up done by Pat McGrath, kimono inspired jackets and Japanese art paintings (some of them hand painted). Models walking around in a decor of white cherry trees and an oversized surrealistic salon chair. The Dior show took the spectator on a journey far eastward. Two years ago John Galliano took his audience on a journey to Egypt during his Haute Couture and this is what he does best taking us in different worlds and culture all this with an incomparable capacity of trendsetting.

This Christian Dior show has been totally inspired by the Japanese culture art and music that overwhelmed John Galliano during his recent trip to Japan, and gave the theme for his 10’s anniversary as the designer for Christian Dior. The decision to celebrate this event with a spectacular collection, and not yet another retrospective, is definitely the right choice; doing this showcased his immense talent, creativity and imagination. Especially after his more sober Prêt-à-Porter show. This felt more then ever like Haute Couture: the freedom to create and to show something special, surrealistic at times, but tremendously artistic, without need of logo support of mainstream desires

The total liberty of this show, leads to not just a bunch of applause but a bold Congratulations Mr. Galliano! (or should it be said Colonel Pinkerton, which was the attire, he choose fort for his legendary salute, which is also on of the shows main attraction)

A propos Japan, there was the Japanese designer Ji Haye at Yumi Katsura that surprised the audience with a great presentation during the Haute Couture week. Original and powerful dresses in strong audacious colours, an innovative approach in the creation of a new haute couture line are definitely a reason to keep a steady eye on this designer.

Armani Privé show paid homage to a different eastern country: India. The great Indian designs appeared here in their soft red-carpet adaptation and will surely be most wanted during the next Oscar events. Indian influences and saris, hoods and golden jewellery also found their place at Emeric Francois.

Elie Saab who brings ever since, the middle orient influences in his designs, continued the homage to his home country Lebanon from his last fully golden ready to wear collection, that represented the sunrise, to this couture show which reflected the soft colours of dawn.

His signature of crystals and sequins that give the glamour to his extraordinary gowns appeared as well, at the designer Zuhair Murad who showed his collection during the Haute Couture. The models walked around like inaccessibly tsarinas and the venue was especially well adapted, an unforeseeable beautiful saloon with Brock golden mirrors and châteaux like paintings on the wall in the Polish embassy.

THE ÜBER-woman

Now that the expression of the Über-man has made its way into every women’s fashion magazine it is about time to start with the ÜBER- Woman: in a less psychological and more stylish approach. These probably were the thoughts of Ann Valerie Hash who celebrated the new femininity in her fabulous haute couture show. The designer presented a real emancipation of her former work by changing the codes of fashion not without a trace of humour. October’s ready-to-wear black overlenght trousers turned into the shortest mini’s of the haute couture. And even though it is short, this style never looks cheap thanks to the high quality materials and lovely details- and of course the opaque black tights which are the perfect accompany. This also must have occurred to master Karl Lagerfeld, who chose the same extra-short length for the opening of his show with a very Twiggy inspired 60s look; extra short white trench coats and dresses. Now that we found out what an Über- woman looks like... it is time to turn our view to the inside and find out more about the Über – woman’s attitude. Karl Lagerfeld invited his ÜBER to the show: Chan Marshall performed live with Cat Power « LET ME ENTERTAIN YOU »

FRINGE MANIA

The Viktor&Rolf style from the prior Prêt-à -Porter show in Paris described as nice dresses put through the shredder was considered a brave act. This haute couture show was full of this new lightness. Ever inspired by that 20s retro feel, but none the less extremely contemporary and desirous.

At Chanel everything was about « vertical flexibility» a term created by Karl Lagerfeld which means a new approach and research to visually lengthen the body. The evening dresses revealed the ankles and had fringes in different materials -from feather- like to more rigid almost metallic once- at their endings. These details gave movement to the feminine silhouette and created the distinctive look of the collection at the same time.

Even Martin Margiela, who created unique artisan pieces out of flea market and other findings, cut four biker T-shirts into one, using fringes in the front.

How does one bring volume to silky materials? Dominique Sirop gave depth and volume to feather weight materials bringing unseen proportions to his dresses and lifting them up with a certain wavy feeling that was also seen at Maurizio Galante, who created quiet a amazement with his last creation- the black wave dress.

MILITARY MEETS SOFTNESS

Marc le Bihan showed how slightly gowns and military high boots jackets and trousers could create something angel like. what an unawait contrast that has been even exaggerated up to a scene of Sophia Coppola’s film where the young Marie Antoinette was running with this special desperate expression in the long halls of Versailles with his last Barrock like creation.

Givenchiy designer Riccardo Tisci tried to transform a sailor into a mermaid in his metamorphosis collection. Flat punched boots and white uniform like jackets were cut and became ever more feminine.

Katharina Kowalewski

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