Haute Couture's Hash Hits
2
18 International Herald Tribune Thursda y, J uly 5 , 2 0 07 **** Haute Couture R oland Mouret’s first show under h is new label, R M, is a change of fashion, with the multimedia magnate Simon Fuller backing the fashion brand. And with the movie mogul Harvey Weinstein putting his money and his clout behind the iconic Ha lston New Y ork label, this could be the start of a trend. Mouret, who lost the right to his name in a dispute with his former backers, showed a ‘‘satel lite’’ collection for summer 2008, featuring his signature seductive fit and origami folds of fabric. With a play on textures, a black coat took on different aspects, woven cotton had a whiff of the folkloric and back zippers slithering do wn a slim skir t gave a hard touch. ‘‘I wanted to do something that would please women and their partners —and with my technique of folds,’’ said Mouret. This commendable concept brought a simple dress with an origami hemline and flaring coats with wide lapels —although the show had no evening showstoppers like the famous ‘‘ga l a xy’’ dress fought over by Hollywood stars. Fuller is famous for the real ity shows ‘‘Po p Ido l ’’ and ‘‘American Idol,’’ as well as managing the Spice Girls and David Beckham. Is he now going to a build a fash ion empire? ‘‘It ’s about where Roland wants to go — I’ll cut the path,’’ said Fuller, claiming that his current project was to find a solution t o the problems of the music business. ‘‘But I am sure I will do more fashion,’’ he said. ‘‘Music is intangible, but the great thing about fashion is that you can touch it.’’ — Suzy Menk es News from RM A nne Valérie Hash has been slaving away for many seasons in the mines of the haute couture calendar, showing ready-to-wear among the masters of couture design. But with her decision to show a capsule collection of 14 truly couture looks, leaving the ready-to-wear for the spring shows, she hit pay dirt. Titled ‘‘Elements,’’ the show used the beauty of the earth as inspiration. The precious stone-colored satin creations felt womanly and wearable. The rounded forms — be they plissé puff sleeves on an organza blouse, a woven emerald-green wool coat with a large protective hood or a curvaceous tourmaline- colored satin dress — wo rked well. And both the wide belt on a silk gown and a bib encrusted with passementerie beading by Lesage on an ivory high- necked top looked like fascinating slices of sedimentary rock. When the final outfit, a young and modern tuxedo with a trompe l’oeil belt and rock crystal-covered lapels, exited the runway, the audience was left wanting T he gaping holes for eyes and mouth look li ke a sculpted version of Edvard Munch’s primal scream. But th is necklace, with a dagger through its back and droplets of pearls hanging on its cord, is also a magical piece of jewelry. So are gleaming pearls nestling in wh ite gold discs, each of a slightly different caliber to correspond to the phases of the moon. Yo hji Yamamoto’s collection of jewelry for Miki moto, unveiled in Paris on Wednesda y, is an inspirational vision of the dark side of the moon — rendered by the Japanese pearl company into sculptural pieces. A pair of cuff bracelets, twisted like a whirl of the wind, and earrings as glistening, mercury-colored drops both come under the collection’s title of ‘‘Stormy Weather .’’ Shown in a studio where steamy clouds belched as a backdrop, this collaboration has brought the freshness of a modern-minded designer to the classical beauty of pearls. ‘‘The whole direction of the collection was done by Mr. Yamamoto —we try to meet his demands,’’ said Toshiro Tanaka, president of Mikimoto, explaining that the company had planned the project for more tha n a year. As with Frank Gehr y’s collection for Tiffany, jewelry houses appreciate the input of a creative imagination. But the surprise at Mikimoto is that Yohji has shown his romantic side — as in pendant earrings where the pearls are ‘‘tea rs’’ descending from the moon to the ocean bed. It makes a powerful mix of elegance and edge. Hash hits the pay dirt The moon’s pearls T a ilors on the prowl I magine a fairy tale scenario where you are presented with a thousand rings sewn into a dress — and only if you can single out the real jewel among the dross do you get your handsome prince. Martin Margiela is not a designer who dwells on romance. But the ‘‘ri ng’’ d ress, part of his ‘‘Artisa na l’’ line for Ma ison Martin Margiela, took the found object to a new dimension. In a man/woman collection growing in sophistication, the designer created Aran sweaters with Lord of the rings A fashion king ea rned his crown on Wednesday as Jean Paul Gau ltier ga ve his ima gi nati on a ro yal wo rk o ut wi th princes as a theme. With the look of Ruritan ia or Rajasthan, the models strodethe catwalk, crowned heads (and some- times crown hairdos) held high, showing precise tailoring and artist- ic embellishment —often both at once. The dramat ic top halve s wen t overnarrow pants or overdeluxe jodhpur s worth y of Jodhpuritself. Whenthe wide- thigh pantswere cut in crocodile, they were in maharajah mode. Tha t Indian theme was a sub tex t of the sho w, but nev er over- whe lmedit. Andalthough Gaulti er occ asi onal ly sli ppe d intogim- micks, as when the EiffelTower was embro idere d on the back of a military jacket, no single idea overshadowed the clothes. Most of the designer’sebullient wit wen t into the prog ram notes , which named his signatur e, impec cabl y tailored trouser suit ‘‘Prince of Wales ,’’ while ‘‘Prince Charmant’’ was a sheath dress in Lurex lace. Gaultier —along with Riccardo Tischi at Giv enchy —has emerged as haute couture’s modern tailor. Since both designers turned their skills to leopard print, there was a neat synergy to their collections. Gaultier has grown so much since he started haute couture 10 years ago and since he took over design control at Hermès. There were mo- ments in the show when all the fashion balls he is juggli ng seemed to be mag ical ly in place , esp eci ally wit h the haute tailor ing , but also whe n eff ortl esslong dresses cameout wit h a dra pe whi skin g over one arm to show the flow of the ‘‘f lou’’ that is true couture. As the show ended with an Indian princess on th e red plush gilded throne at the back of the runway, Gaultier deserved to take the model’s place. Courtne y Love , frontrow,dressed lik e a Gothprincess inflowing blackrobes,suggeste d high dramaon the runway at G ive n c hy . But Tischi is getting into the coutu re groove. The fall collection from the neo-R omanti c desig ner, shown with no conceptsor histri onics,was the most plausible he has done for the house. Simpl e tailoringin graphicblack and white , with touch es of dov e grayand silv er (and ju st one flas h of yello w str ap on adress), was a step forwardfor the young Italian desi gner — although ultra- long lace-up boots looked as difficult to t ake off as Love’s Goth gloves. The inspiration for Tischi was the mythology of fantastic creat ures, butapart from a deer’ s head moldedinto a fur jacke t, this theme made grac eful pieces. They inclu ded a crocodile jacket with giant scales on an evenmore gigan tic collarand an alliga tor jack et dipping down into the reptilian tail at the back. For the opening out- fits, feather skirts were trimmed like topiary under taut jackets. ‘‘Mythology — half-woman, half-human,’’ said Tischi backstage. Yet the starpiece s we re the mos t app are ntl y simple : a jac ket wit h rays of stitching at the backor another one, slightly oversized, w orn with skinny pants or those lace-up boots. Since Tischi has been under contract with Hubert de Givenchy, he seemsmore comf ortablewith the house c odes,using a hat fr om the gre at eraof Giv enc hy to top a leopar d-p rint out fit — wit h just leo- pard hose pulling the monoc hrome look into the 21st century . Tis- ch i’s‘‘f lou’’ drapes still look much too complicated, and he has yet to meld seamlessly high creativity and hautefashion. But he is moving forward to understanding the essence of couture. Suzy Menkes is fashion editor at the International Herald Tribune. GIVENCHY JEAN PAUL GAULTIER Photographs by Chris Moore/Karl Prouse RM Th e Collections Paris Suzy Menkes MAISON MARTIN MARGIELA — Suzy Menke s A S P E C I A L R E P O R T
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Transcript of Haute Couture's Hash Hits
8/14/2019 Haute Couture's Hash Hits
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18International Herald Tribune
T hursday, J uly 5, 2 0 07
****
Haute Couture
R oland Mouret’s first show under h is newlabel, R M, is a change of fashion, with the
multimedia magnate Simon Fuller backing thefashion brand. And with the movie mogulHarvey Weinstein putting his money and hisclout behind the iconic Ha lston New Yorklabel, this could be the start of a trend.
Mouret, who lost the right to his name in a
dispute with his former backers, showed a‘‘satel lite’’ collection for summer 2008,featuring his signature seductive fit and origamifolds of fabric. With a play on textures, a blackcoat took on different aspects, woven cotton hada whiff of the folkloric and back zippersslithering down a slim skir t gave a hard touch.
‘‘I wanted to do something that would pleasewomen and their partners — and with mytechnique of folds,’’ said Mouret. Thiscommendable concept brought a simple dresswith an origami hemline and flaring coatswith wide lapels —although the show had noevening showstoppers like the famous‘‘ga la xy’’ dress fought over by Hollywood stars.
Fuller is famous for the real ity shows ‘‘Po pIdo l ’’ and ‘‘American Idol,’’ as well asmanaging the Spice Girls and David Beckham.Is he now going to a build a fash ion empire?
‘‘It ’s about where Roland wants to go — I’llcut the path,’’ said Fuller, claiming that hiscurrent project was to find a solution t o theproblems of the music business.
‘‘But I am sure I will do more fashion,’’ hesaid. ‘‘Music is intangible, but the great thingabout fashion is that you can touch it.’’
— Suzy Menkes
News from RM
A nne Valérie Hash hasbeen slaving away for
many seasons in the mines of the haute couture calendar,showing ready-to-wear amongthe masters of couture design.But with her decision to show acapsule collection of 14 trulycouture looks, leaving theready-to-wear for the springshows, she hit pay dirt.
Titled ‘‘Elements,’’ the showused the beauty of the earth asinspiration. The precious
stone-colored satin creationsfelt womanly and wearable.The rounded forms — be theyplissé puff sleeves on anorganza blouse, a wovenemerald-green wool coat witha large protective hood or acurvaceous tourmaline-colored satin dress — wo rkedwell. And both the wide belt ona silk gown and a bib encrustedwith passementerie beading byLesage on an ivory high-necked top looked likefascinating slices of sedimentary rock.
When the final outfit, ayoung and modern tuxedowith a trompe l’oeil belt androck crystal-covered lapels,exited the runway, theaudience was left wantingmore.
— Jessica Michault
T he gaping holes for eyes and mouth look li ke a sculptedversion of Edvard Munch’s primal scream. But th is
necklace, with a dagger through its back and droplets of pearlshanging on its cord, is also a magical piece of jewelry. So aregleaming pearls nestling in wh ite gold discs, each of a slightlydifferent caliber to correspond to the phases of the moon.
Yohji Yamamoto’s collection of jewelry for Miki moto,unveiled in Paris on Wednesday, is an inspirational vision of the dark side of the moon — rendered by the Japanese pearlcompany into sculptural pieces. A pair of cuff bracelets,twisted like a whirl of the wind, and earrings as glistening,mercury-colored drops both come under the collection’s titleof ‘‘Stormy Weather.’’
Shown in a studio where steamy clouds belched as abackdrop, this collaboration has brought the freshness of amodern-minded designer to the classical beauty of pearls.
‘‘The whole direction of the collection was done by Mr.Yamamoto — we try to meet his demands,’’ said ToshiroTanaka, president of Mikimoto, explaining that the companyhad planned the project for more tha n a year.
As with Frank Gehr y’s collection for Tiffany, jewelry housesappreciate the input of a creative imagination. But the surpriseat Mikimoto is that Yohji has shown his romantic side — as inpendant earrings where the pearls are ‘‘tea rs’’ descending fromthe moon to the ocean bed. It makes a powerful mix of eleganceand edge.
Hash hitsthe pay dirt
The moon’s pearls
Ta ilorson the prowl
I magine a fairy tale scenario where youare presented with a thousand rings
sewn into a dress — and only if you cansingle out the real jewel among the drossdo you get your handsome prince.
Martin Margiela is not a designer whodwells on romance. But the ‘‘ri ng’’ d ress,part of his ‘‘Artisa na l’’ line for Ma isonMartin Margiela, took the found objectto a new dimension. In a man/womancollection growing in sophistication, thedesigner created Aran sweaters withtufted inlays of vintage fur, cut-outWestern motifs on leather jackets, denimcircles sewn like sequins on jeans and theultimate Tinseltown party cover-up: a‘‘f ur’’ jacket created from gilded tinselstrings. — Suzy Menkes
Lord of the rings
A fashion king ea rned his crown on Wednesday as Jean PaulGau ltier gave his imagination a royal workout withprinces as a theme. With the look of Ruritan ia or Rajasthan,the models strodethe catwalk, crowned heads (and some-
times crown hairdos) held high, showing precise tailoring and artist-ic embellishment — often both at once.
The dramatic top halves went overnarrow pants or overdeluxejodhpurs worthy of Jodhpuritself. Whenthe wide-thigh pantswerecut in crocodile, they were in maharajah mode.
That Indian theme was a subtext of the show, but never over-whelmedit. Andalthough Gaultier occasionally slipped intogim-micks, as when the EiffelTower was embroidered on the back of amilitary jacket, no single idea overshadowed the clothes. Most of thedesigner’sebullient wit went into the program notes, which namedhis signature, impeccably tailored trouser suit ‘‘Prince of Wales,’’while ‘‘Prince Charmant’’ was a sheath dress in Lurex lace.
Gaultier — along with Riccardo Tischi at Givenchy —has emergedas haute couture’s modern tailor. Since both designers turned theirskills to leopard print, there was a neat synergy to their collections.
Gaultier has grown so much since he started haute couture 10 yearsago and since he took over design control at Hermès. There were mo-ments in the show when all the fashion balls he is juggli ng seemed tobe magically in place, especially with the haute tailoring, but alsowhen effortlesslong dresses cameout with a drape whisking overone arm to show the flow of the ‘‘f lou’’ that is true couture. As theshow ended with an Indian princess on th e red plush gilded throne atthe back of the runway, Gaultier deserved to take the model’s place.
Courtney Love, frontrow,dressed like a Gothprincess inflowingblackrobes,suggested high dramaon the runway at G ive n c hy . ButTischi is getting into the coutu re groove. The fall collection from theneo-Romantic designer, shown with no conceptsor histrionics,wasthe most plausible he has done for the house.
Simple tailoringin graphicblack and white, with touches of dovegrayand silver (and just one flash of yellow strap on adress), was astep forwardfor the young Italian designer — although ultra-longlace-up boots looked as difficult to t ake off as Love’s Goth gloves.
The inspiration for Tischi was the mythology of fantasticcreatures, butapart from a deer’s head moldedinto a fur jacket, thistheme made graceful pieces. They included a crocodile jacket withgiant scales on an evenmore gigantic collarand an alligator jacketdipping down into the reptilian tail at the back. For the opening out-fits, feather skirts were trimmed like topiary under taut jackets.
‘‘Mythology — half-woman, half-human,’’ said Tischi backstage.Yet the starpieces were the most apparently simple: a jacket withrays of stitching at the backor another one, slightly oversized, wornwith skinny pants or those lace-up boots.
Since Tischi has been under contract with Hubert de Givenchy, heseemsmore comfortablewith the house codes,using a hat from thegreat eraof Givenchy to top a leopard-print outfit — with just leo-pard hose pulling the monochrome look into the 21st century. Tis-ch i’s‘‘f lou’’ drapes still look much too complicated, and he has yet tomeld seamlessly high creativity and hautefashion. But he is movingforward to understanding the essence of couture.
Suzy Menkes is fashion editor at the International Herald Tribune.GIVENCH Y JEAN PAUL GAULTIER
i h t .co m /s t y l e Photographs of Paris haute couture.
Photographs by Chris Moore/Karl Prouse
RM
Th eCollections Paris
SuzyMenkes
AN NE VALERIE HASH
MAISON MARTIN MARGIELA
— Suzy Menkes
A S P E C I A L R E P O R T
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