By Flora Naughtie
It’s not hard to realise the painstaking artisan work that goes into each collection in Paris for the Haute Couture. The hours spent dreaming up the designs and the hours spent implementing them – by hand from start to finish – goes far beyond the mass-produced, ready to wear fashion of today.
Ulyana Sergeenko’s two slip dresses – reported by Vogue to have taken five months each to create – illustrate the severity with which designers approach couture week and how tightly the quality is regulated by it’s governing body, the Syndicate Chamber of Haute Couture.
The work produced this season emphatically belongs to, and upholds, the illustrious tradition of haute couture that stretches back to the early 18th century. Standout pieces from Yacine Aouadi, a newcomer to the couture roster, included an abundance of floral appliqués.
Elie Saab’s collection comprised feminine lace and embroidery pushing the boundaries to a new height of luxe extravagance.
Maison Martin Margiela under John Galliano paid tribute to the late David Bowie with a clear glam-rock edge – think knee high glittering boots and asymmetrical hair and make-up.
Elie Saab Spring Summer 2016 fashion show during Paris Haute Couture Fashion Week on January 27, 2016 in Paris, France.
Gigi Hadid at the Chanel Haute Couture Spring 2016, Photographed by Kevin Tachman.
What matters and creates talking points is not just the garments themselves but also the increasingly adventurous settings in which they are presented. Notable as always was Karl Lagerfeld’s Chanel: a Doll’s house presenting the models in compartments. The equally inventive Jean Paul Gaultier took his inspiration from the infamous Le Palace nightclub, the models smoked, drank and high-fived as they walked.
Cool work while you can get it.
Dolce & Gabbana Alta Moda SS16