Merci, Couture

For those who don't understand couture, perhaps these videos can help explain it.











When a creation comes down the runway, we tend to forget that each piece has a backstory. We may look at the garments in isolation, forgetting that every detail has been thought through and laboured over for hours upon hours. Remember, that which looks most effortless is that which actually requires the most skill. Behind every petal, every bead, every stitch is a team of specialists extremely good at what they do. And they do it with utmost love and care. Couture is beautiful not simply because of how it looks, but because of the people who bring it to life.

Thank you, Karl Lagerfeld, for always honouring the expertise of those whose passion remains unmatched - those whose savior faire brings a touch of fantasy to the everyday.

Thank you, couture, for showing us that even in an industry so hurried and rushed, there is magic in moments of devotion.

Vionnet Fall 2013 Couture

I may have witnessed the fall of Christian Lacroix and Givenchy's current break from couture, but I have also witnessed the return of Atelier Versace, Viktor & Rolf, and most recently, Vionnet.  Vionnet is an especially heartwarming return, seeing as Madeleine Vionnet is among the early couturiers, known for her Grecian dresses and popularizing the bias cut.  In my eyes, she is as evanescent as Madame Grès: both of whom will always be referenced in modern fashion, but whom I will never be able to truly experience.  So with Goga Ashkenazi at the helm bringing back Vionnet couture, I couldn't even care less that she decided on merely demi-couture.  No, her latest collection doesn't rival Christian Dior Fall 2011 Couture, but it far exceeds the Alexis Mabille collection I just posted about; it's on such a different plane that it scores major points as a beautiful collection that is still close to my heart.

The music was what first hooked me.  Alluring classical music (oh, how I love the piano!) set a mood of pure opulence, but it had a more vibrant, rhythmic beat that played wonderfully against the idea of demi-couture.  It started off, naturally, with a bias cut dress that was easily the most stunning look of the entire collection.  An amazing emerald green laminated matte satin half-peplum cutting across a minimalistic slip, with soft pleats along the hip that dissipate into a draped skirt.  Stunning.

The "demi-couture" comes in with the modern aspects of the collection - sheer gazar, teasing leg, and at times, a flatly draped cut.  I found these more casual notes to be an invigorating departure from how couture is generally envisioned to be.  But as casual as some aspects were, it was never casual to the point of ready-to-wear.  Remarkable, sweeping capes ensured we all knew this was still couture.

Couture has had its high moments, and it's had its low moments.  Couturiers have come and gone.  But remember this: couture has never died.  Couture revolutionized what it meant to be a fashion designer, and it will continue to stay at the heart of today's (and tomorrow's) fashion scene.  No matter how wearable the public demands fashion to be, couture is what keeps the spirit of fashion alive - it is what allows us to keep dreaming.

Watch the entire show here.

Image Source: Style.com

Alexis Mabille Fall 2013 Couture

Oh, couture.  The season that makes every fashion lover's heart flutter.  Nonetheless, I think it's safe to say that I haven't been truly infatuated by a Couture collection since Christian Dior Fall 2010 Couture.  Nothing - not even Givenchy's ethereal creations - has lifted me up to the same level of euphoria that Dior did back then.  However, Alexis Mabille came close this season.

So close that Youtube users are comparing him to John Galliano at Dior (To the one user who so venomously denied that this was Dior: Face it, Galliano redefined Dior to the point they were one and the same, and this collection undoubtedly breathed wisps of Galliano's work.  After all, Mabille did work under Galliano at Dior for 9 years...).  Mabille took the sweeping brushstrokes of 19th century painter Giovanni Boldini as inspiration, resulting in a painterly sensibility not unlike the one Galliano possessed when he emulated flower petals on his dresses.  Mabille applied his inspiration to trouser legs, leading to a stunning set of muted, ombré pants that reflected very well the true character of paint.  I adore these pants.

There were only two pairs before the show moved on to a play on texture.  Lace and satin, embellishment and organza...all in a lovely pastel palette.  The minimalistic shoes acted as a great blank canvas on which to showcase the clothing, and the "pressed" flowers in the hair heightened the decadence.  Trousers were as fitted as if they were painted on, but every look had a blasé edge that mirrored the trailing end of a brushstroke.

From here on is where Mabille had a slight mishap, stunting its ability to rival Dior's work.  Mabille began to show leg-of-mutton sleeves and duchess satin gowns.  The change of pace was too heavy, and the stiff folds of the dresses were harsh.  One creation had an unfortunate resemblance to the Grim Reaper, albeit in a slick, almost metallic cloak.  I do agree with Nicole Phelps of Style.com when she calls this portion of the show "more of a thud" than luminous.  But all was not lost; a sophisticated cross-body neckline dress with a cascading string of pearls reminded us that the collection had its moments worthy of praise. 

The initial blasé air soon gave off a slovenly appearance when the leg-of-mutton sleeves billowed into excessive volume.  Volume can be done well, but it becomes very difficult in duchess satin.  Few designers have made it work for contemporary times.  It ended up being a simple black velvet gown with a flower design that stole the latter end of the show.

It's not rare to see growing designers start their show better than they end it, or vice versa.  An incoherent collection signals the lack of a strong, solid vision, or a misunderstanding of how different pieces come together to create a melodic tune.  Experienced designers start strong, and end strong.  However, this is not a review against Mabille.  Remember, he had almost equaled Dior in my eyes!  I find him to be a talented designer.  Phelps picked on the fact that his exaggerated shoulders would never be worn by the living woman, but my oh my, have you forgetten that this is couture?  That this is fashion?  (Evidently, Phelps has not yet proved to me she is a critic among the ranks of Tim Blanks).  Designing is a process of growth that takes many years of hard work, thick skin, and gritty experience.  Mabille's passion shows he has potential.  You start strong, you end strong.

Watch the entire show here.

Image Source: Style.com