How can one who likes fashion not appreciate couture? The exemplary materials and intricate construction really do justify the exorbitant prices that one pays for pieces of clothes that becomes art in itself. Plus the week is just that: a week of fashion.
That designers are creatively able to implement the ideas into mainstream fashion at breakneck pace means that couture no longer has a stranglehold over innovation in design concepts. In fact, looking at couture one can find many similar trend directions that are already in place such as: understated minimalism as seem in Armani Prive and Dior; practicality from Alexis Mabille; Eastern European patterning from Givenchy; arabesque details and BoHosisms at Chanel; Russian and fairytale influence from Ulyana Sergeenko; 40s from Chanel; turn of the century dark romance from Valentino versus turn of the century menswear and flapperisms from Gaultier; Art Noveau in floral from Giambattista Valli and Valentino , and design (cut and tiering)and pattern from Maison Martin Margiela; rococo flourishes from Alexis Mabille; and lean 60s architecture from Givenchy.
The sophisticated execution of these elements is, of course, what separates couture from pret-a-porter. Fringe detailing at Gaultier, iridescence at Versace and opalescence at Alexis Mabille seemed to nod a bit of detail that was exciting when utilized in the 90s, a decade getting well-mined in fashion at the moment and as their presence was added to this round of design presentations these are likely to find influence in broader design to come. The intricate quilting of the skirt at Ulyana Sergeenko was another fresh detail that is sure to inspire imitators.
The classic aura of the cut many of the designs also are luxury’s nod to design sensibility as pieces are built not just to last due to quality but also in wearability (if such a client is actually concerned about dollar per wear as a factor). That quite a few gowns were in the realm of 40s in cut or 60s in modern architecture rather than in experimental and potentially trendy short-lived incarnations show that designers are in no mood to push boundaries where business is involved. Their clientele may have the capital to purchase these items but they live in the real world too, and with austerity proving more widespread even luxury has taken a bit of bite as of recent. Media has reported that China, once an investing boom for luxury, is now pulling back on spending and the impact is being felt. This means that even luxury may have to exercise caution as so design takes a safer route. That Bouchra Jarrar made more practical daywear is a sign similar to when design toned down the glamour during austerity in the 90s; those designers who did so survived.
You can’t go wrong with chiffon and beading in classic lines when it comes to couture. It offers the sparkle without being dated. Still, some designers like those at Givenchy are willing to take a more creative approach in the execution of detailing that breathes life into expectations. Couture is a fantasy for many and this is one house that deigns for the future in mind.
The ecological route is another modern approach that only Maison Martin Margiela tended to. To tackle this within the arena of couture is a challenging feat, especially as “repurposed” is not a word one normally associates with couture. Their modern approach as the dialogue grows about sustainability and the nod to Art Nouveau as many astute designers have done recently when looking at design innovation speaks of an awareness of what is now as well as what is coming.
Will couture survive? It certainly intends to. But its survival depends on whether it can evolve, and here are different approaches to aiming for just that, brought by craftspeople and creative talent pouring their heart into what they love.