IN FULL BLOOM

What a difference a year makes. Twelve months ago, the demise of haute couture had been widely predicted.

After all, how could it possibly survive the worst financial crisis in living memory? The very definition of a niche market, the couture customer base has been actively dwindling for years.

But fast forward to 2010, and the future of haute couture, for now, seems secure. It is secure because designers have realised that at couture’s heart is not exclusivity, but creativity. Often criticised for being ‘over-the-top’, couture has in recent years swung from wild excess to measured temperance, and it leaves us asking just one question: what comes next?

Couture this year has been determined to go bigger and better, and if the Chanel show was anything to go by, Karl Lagerfeld intended to lead by example. The models at Chanel walked in the shadow of an enormous golden lion, meant to pay homage to Coco Chanel’s star sign, Leo. Standing at 45-feet high, the lion oversaw a collection that was full of boxy jackets and the trademark tweed paired with beaded and heavily embellished eveningwear. Watched eagerly by Gossip Girl stars Blake Lively and Leighton Meester (on a break from shooting in Paris), this collection was a medley of maroon and navy shades – a touch moodier than the Chanel Couture of previous years, but worn with a swagger, it will have young Hollywood clamouring to work their pouts in the latest Chanel two-piece suit.

Not one to shy away from a challenge, John Galliano’s theme for Dior Couture was florals. It’s a perennial choice for fashion, but done the Dior way it became something extraordinary.

Flanked by enormous 3-D tropical flowers, the models emerged wearing a series of dazzling gowns that mixed colour with wild abandon: violet & pink, indigo & lime, orange & black. The collection grew from iridescent tulip skirts to a succession of gigantic gowns that looked like undiscovered exotic blooms.

Fronted by models Jessica Stam, Karlie Kloss and Frida Gustavsson, the Dior collection took on one of the oldest fashion favourites and made it look daring, vibrant and new. Galliano’s supremely confident flower-show put creativity front row and centre. It’s easy to forget in tough times, but fashion, even when done by the best, still needs that light-bulb moment. This was pure fashion eureka.

It may not be suitable for a trip to the supermarket, but these heart-stopping, jaw-dropping collections sent out a message loud and clear to anyone who doubts that couture can last, in just two words: beat that.

HELEN TOPE

Sources:
www.modelinia.com/blog
http://www.style.com/
http://www.vogue.co.uk/

THE HEART OF HAUTE COUTURE

The home of couture, this February, Paris played host to the costliest collections in the world. Where a dress can routinely leave you £50,000 out of pocket, the question about where to place couture in a society still reeling from the effects of recession was put on hold. If anyone had business jitters, they kept them well hidden.

Many designers went to their ‘go-to’ moves, whilst others tried something different. Elie Saab showcased gowns that were good to go for the Oscars, and Gaultier took fashion editors on a sartorial voyage of South America. Valentino worked with shades of neon, in addition to producing its standard-wear Valentino favourites for its loyal clientele.

Chanel’s obsession this year was the colour silver, which was threaded throughout the entire collection, pepping up delicate dresses and ice-cream coloured tweed suits.
But the spotlight of the season fell on Dior. John Galliano, never afraid to display his flair for the dramatic, went with an equestrian-themed collection, with plenty of riding crops and lace veils. The dressage theme then made way for a series of stunning gowns decorated with bows and draping detail.

Dior’s stable of model talent included Chanel Iman, Karlie Kloss, Kasia Struss and Lindsay Ellingson. Always prepared to get involved in the runway action himself, Galliano even appeared in full riding costume, got down on bended knee and kissed Karlie Kloss’ hand to rapturous applause. That grand gesture alone ensured that Dior was the show of the season.

Coinciding with recent headlines that Britain is officially emerging from the longest recession in living memory, this array of heaven-sent fashion has shown that the industry is finally getting its mojo back. Recovery is about confidence as much as the balance sheet and 2010 has got off to a supremely confident start. Where couture leads, ready-to-wear follows and this year couture is very firmly back in the saddle.

HELEN TOPE