#MelangeCouture: Haute Couture Autumn Winter 2018
Day 4
Maison Margiela Artisanal
Upon first glance, the collection is defined by the excessive layering; constricting the body, freeing convention. Models were engulfed by oodles of covers, padded sleeping bags, and industrial level packaging lending extreme silhouettes and an overarching theme of protectionism. Caution: Fragile. The multiple layers of fabric reminded one of John Galliano’s controversial Clochard collection at Christian Dior Spring 2002 which focused on those living in the onset of society and who are forced to carry all of their belongings at all times. In both collections, material serves a more utilitarian purpose and becomes a direct and more personal extension of the self. Here this extension is revived to include our electronic devices, be it a neon coloured VR headset, or an iPhone strapped to the ankle, like an impeding ball and chain, quietly tracking every step we take. Are we digital nomads or digital prisoners of our own structured worlds? Galliano catered to the idea of “creating your own world within a world that’s very troubled at the moment” where you and your things were wrapped close together, mostly in translucent fabrics such as various shades of nylon hosiery. The effect resulted in exceptionally cut clothes, distorted and mashed together into shapes beyond recognition. Adding to an aesthetic beyond recognition was the ingenious repurposing of garments such as an A-line skirt mutated into a top or jacket. Galliano mentioned that the memory of another garment can offer an even more fantastical version of the original. Case made.
Day 3
Chanel
A stretch of sidewalk along the Quai de Conti found itself within the Grand Palais, including the green-painted humble, wooden stalls of the boquinistes. Here, especially to the the delight of bibliophiles, tattered books and magazines were on display all of course relating to Coco Chanel. Within this context, the audience is reminded how a seemingly ordinary street scene (on the Seine) is truly extra-ordinary. For this couture season, Karl Lagerfeld introduced the “high profile” look; defined by elongated skirts which unzip to the thigh, revealing a piquant miniskirt beneath. What a luxury for couture to multi-task, allowing the wearer herself to decide on hemlines depending on occasion. Or better said, the consumer to rebel against being in a passive position when it comes to design- those punk rock faux-Mohawks by hairstylist Sam McKnight suggested that point! Slender sleeves also unzipped, uncovering linings of silk or chiffon as well as sparkling embroidery true to form for the City of Light. As on the exterior tweeds and failles were mostly cast in shades of greige, it is interesting to note how opulence and surface-level “couture magic” found itself within the inner workings of these pieces - hidden at first glance. Perhaps with the chaos of current global events, it simply is not appropriate or tasteful to show off leaving a trail of diamonds behind. A new level of modest fashion can be interpreted by this season’s couture. Many designers today ask what couture should look like or do in 2018; this Chanel collection was it.
Alexandre Vauthier
Alexandre Vauthier injects pomp and sheer unrestrained french fabulousness to the couture stage in his exploration of “what it means to be Parisian and chic”. As fashion continues its 1980s love affair, Vauthier spoils us with dramatic looks which mimic the aesthetic of Ungaro, Montana, as well as Saint Laurent especially with the plumed black feathered minidress. Typical Mugler exaggerated shoulders also played a leading role. Two stand out looks were in canary yellow - one, a sun ray pleated parachute skirt synched at the waist with an oversized black belt; the second a sharp shouldered blazer worn by the ultra glam Teddy Quinn. Bold shoulders, plunging necklines, a handful of dangerously short hemlines provoked the senses in the best of ways. Our quest for new clothes, season after season, can at the root be defined as our lifelong quest for finding that feeling of being truly unstoppable. That’s what these clothes offered, providing that ultimate FU moment where nothing and nobody can bring you down.
Day 2
Giambattista Valli
Fashion is about catering to the future and in terms of demographics Giambattista Valli has hit the nail on the head with his fresh-faced target clientele. He has carved out an enviable niche for himself by catering to the demands of millennials and Gen Z, who often desire a range of hem lines, unique silhouettes, and a playful mix of pattern and colour. Valli however has often underlined that youth is a mindset and not a number and thus his creations are applicable for both mothers and daughters alike. As typical of Valli, his collection referenced Balenciaga and featured the expected clouds of tulle - this season soaked in artificial hues including shocking pink. The strongest looks leaned more on sleekness and of a flou nature - take for example a grecian cut floor length gown worn in combination with a diamond Chopard necklace. Dream. The dominance of street style and urban wear seeped into the style of the collection, making way for jumpsuits and even a bra top, two unforeseen pieces for a couture collection leading to a very convincing result. Marching down the runway, wearing a fishnet veil on her head, the Valli girl was neither entirely prim or proper, but she had an infectious rebellious edge to her, combined with a natural sophistication. The collection was youthful and energetic; perfectly in tune with l’air du temps.
Christian Dior
Under Maria Grazia Chiuri’s reign over Dior, it the age old philosophy of “less is more” which holds true. The meticulous craftsmanship appreciated only upon closer inspection of each intricate detail elevates the impressive finesse of this couture collection. Here a whisper is more powerful than a scream. In the age of Instagram, it is often the loud maximalist palette which is desired - accompanied by screeching logos, but no Chiuri opted for a welcome antithesis. Instead Chiuri listens and responds to her loyal customer who dresses for herself and not for the dopamine high induced by the popularity of a fleeting image on social media. In a society where we are drowning in product and plastic, true luxury has shifted towards the art of simplicity. Only think of Marie Kondo’s golden rule in organising your life- Does it give you joy? When appreciating the razor sharp cuts of the cashmere suits, the graceful tumble of a crepe hem, and the precision of a pleated gown which kicks outwards with every step, yes - there is joy within these clothes. Delicacy with cultivated assertion.
Schiaparelli
And down the rabbit hole we go! Amongst the wild beasts and a technicolour spectrum, Bertrand Guyon invited his eager audience into the depths of Schiaparelli’s wonderland. The prints of leopard, zebra, cheetah, and giraffe were featured on everything from silk tuxedo jackets to full length evening gowns, while the generous use of plumage offered even more bite; best shown draped across the neckline of floor skimming white dress, made even more theatrical thanks to a Stephen Jones’ mask of Schiaparelli’s beloved pet dog Popcorn. Side note: the celebrated milliner provided the full range of magical headgear - each worthy to be worn at the most spectacular of masquerade balls! The collection appealed to both the most flamboyant maximalists who may opt for a Flamingo covered cape (and matching mask!) as well as any reserved purist, who would instead prefer the carefully constructed cut of the more subdued jackets. No matter your preference, a collection to dream about when risking a walk on the wild side.
Day 1
Givenchy
For her second couture outing, Clare Waight Keller paid tribute to the great Hubert de Givenchy who sadly passed away February of this year. While it is often dangerous to lean too heavily on the past, Keller tastefully reinterpreted many of Givenchy’s “greatest hits” - most designed and worn by his close friend Audrey Hepburn from the 50’s through to the 70’s; a golden age for fashion on film. A particular moment recognised by any fan of film or frock, was the concluding look which riffed off of Hepburn’s world famous LBD in Breakfast at Tiffany’s - save for the multiple strands of pearls, a contemporary hood accentuated the frame. What distinguished the modern twist were the elements of masculinity, strength, and protectionism such as a silver metal harness synched over a creme, floor length gown - a provoking contrast in sharp architectural elements and flou. It was an act of thoughtfulness, as Keller happens to be the first creative director of the house to honour Givenchy’s legacy and like many things in life, in order to move forward one must first celebrate the past. Heightened glamour for the modern woman.
Roland Van der Kemp
Kicking off the Autumn couture collections is Holland based designer Roland Van der Kemp, who sent a bustling cornucopia of colour, shape, and fabric down the runway - each look singular in tone, breaking free from any overachieving theme. Only a very powerful red thread unified the collection, namely the philosophy shared with Helmut Newton who approached his legendary images of women to be “subjects not objects”. This notion of dressing for women -for the wearer- automatically places each carefully crafted piece into a proactive context, prepared for action. Interestingly, the fabrics featured are up cycled leftovers and have been reborn into something even more exquisite thanks to a careful hand and a sharp eye. When accepting the old as new, an extra layer of romanticism is added to Van der Kemp’s couture, lending added meaning to the oodles of ruffles, rich tapestries, and dramatic shaping reminiscent of celebrated greats including Mugler, Ungaro, and early Gaultier. Alaïa was also referenced in the final hooded orange and fuchsia tie dress sparking flashbacks of Grace Jones in his 1986 spring haute couture collection. Van der Kemp orchestrated a poetic metamorphosis: reinterpreting classic silhouettes, transforming discarded textile into coveted couture.
