Going through the Resort collections was the plan…until the Couture shows came right on its heels. As such, the normally expected subjects alluded to in past articles will have to take a back seat. This is, after all, couture. The height of creativity and expression lies in these shows, for they are rooted in dreams and are made for a class of people who are able to enjoy a higher frame of relevance. They represent ideals which give fodder for inspiration of all other types of collections that come from them. The higher expense provided for materials and construction affords the possibility to stretch the creative allowance that other collections may not get to enjoy, particularly when other collections cater to the general public. That is because the bulk of the population may not be in a frame of mind to take as many risks with their expenditures on something considered more essentials. For those who enjoy couture, this is permissive frivolity taken with seriousness, done with materials and execution reserved for the finest of art.
The collections did take a nod to what is relevant, which, like much of the recent resort collections illustrated, is a more classic approach. Nearly all of them incorporated classic cuts into their wares, providing beautiful and timeless items that appeal to more conservative tastes even in this market. Some, such as Alexis Mabille, Armani Prive, Chanel, Elie Saab, Giambattista Valli, Jean-Paul Gaultier, Schiaparelli by Christian LaCroix, Ulyana Sergeenko, Valentino, Vionnet and Zuhair Murad went right for the opulence that their clientele can well-afford. The details were delicate (Elie Saab was inspired by precious gemstones while Giambattista Valli referenced fine china) for most while Chanel and Ulyana Sergeenko went for a heavier expression. Many, though, had structured textiles and draped wrapping to reflect the defensive concerning income disparity and growing vocalized resentment by an increasingly fatigued public. Chanel’s beading almost seemed armour-like, with hard cuts and geometric patterning throughout the softer silhouettes.
Others, such as Alexandre Vauthier, Bouchra Jarra, Christian Dior, Maison Martin Margiela and Versace catered to a more modern aesthetic, creating pieces that had slouch, ease and modern casualness amidst the luxe materials. Bouchra Jarra contained many daywear pieces that, despite the exquisite modern textiles, were designed for true use in public. Dior made reference to the international community that the world is today, mixing pieces from a variety of ethnic inspiration sources the way most modern woman do. Maison Martin Margiela utilized existing vintage pieces and, in some looks, presented them with the most pedestrian and unexpected of couture, denim jeans. These collections recognize that the modern woman, even a couture client, will go out in public.
And others went more conceptual in their approach as they aimed for modern expression. Iris Van Herpen took 3D printing to new places with subtle textures that embrace organic roots, some almost seeming like fossils embedded in the textiles and others with finer texture that the printing process allows. Some incorporated the type of dimensional cuts associated with Japanese paper sculpture within the organic framework, producing thoughtfully modern pieces where the detail was a product of our intricate technology coming full circle. Viktor & Rolf, after a thirteen year absence, produced the most Zen-like collection; all black, the collection comprised of items where seam detail and freeform cuts in a modern neoprene-like textile that allowed exploration of new forms to surface, something not seen as much since Comme de Garcons in the 80s and somehow fresh in contrast to the plethora of classic cuts that really are still largely products of the 20s century.
Chanel’s collection may fall more in line with that mindset that most designers are in but the concept behind their show is recognition of looking forward with feet in both the past and the future. As we become gradually acclimated to our impending 21st century identity the release of the past will be more pronounced. For some, such as Maison Martin Margiela, the glamour will be in the painstaking incorporation of the old restored and reworked into the new as we respect heritage while understanding that the future is on our ability to move on. For some like Iris Van Herpen the future will hinge on our technology’s ability to bring the past forward into new forms. And it is seeing the mavericks challenging convention, be it in what constitutes couture as Dior demonstrated, or what is acceptable form via Viktor & Rolf, couture is showing that it has the capacity to lead, even when the entire platform of fashion is transforming before our eyes.