It happened like this: Givenchy pulled out first, citing lack of a designer. Versace pulled out. Hanae Mori announced this was her last show. No more Balmain, Lanvin, Ungaro, or Nina Ricci. What we finally had was the smallest couture schedule ever. It was a bit somber and sad, and the ever-present Paris rain did not help. We took refuge at L’Avenue on Avenue Montaigne, the “beautiful people’s restaurant” made even more beautiful by Couture Week. Cigarettes and dogs of all sizes, the ever-present tiny cups of coffee, and the drizzle….Karl Lagerfeld lifted us up with his magnificent Chanel show and the finale, a jazz combo to illustrate Mr. Lagerfeld’s cosmopolitan air, made us happy. Tatiana Sorokko and I enjoyed the on aura tout vu show, which featured models in helmets fitted with microphones (“our Britney Spears moment!” explained Livia from OATV).
Since taking over design duties at the house of Hermés, Jean Paul Gaultier has apparently gone horse crazy. He sent his models nearly galloping out to music from High Chaparral, or something quite similar. Big hats and boots---I was crazy about the over the knee peacock feather boots that look they might have been worn by the Three Musketeers (my idea of them that is!).
For a different kind of shoe, we were wowed by the Patrick Cox design for Charles Jourdan, in conjunction with Van Cleef and Arpels. This was an amazing sight–a strap of black leather curved around the foot and ankle along with three chains of white gold set with diamonds. Emerald-cut diamonds were on the central chain and diamonds brilliants were on the two sides with chains.
The same combinations of settings were on the back of the sandal, with the chains set with brilliants encrusted all the way to the bottom of the heel. Of course, the buckle was set with pave diamonds. We hope a very pretty foot graces these shoes, but knowing couture, we are skeptical (but hopeful).
Sidney Toledano, the president of Dior, has suggested the Haute Couture schedule would indeed continue, although perhaps with one season per year instead of the current two. This one season could be a part of a “luxury week” that would include luggage and jewelry. After all, top couture clients Mouna Ayoob from Paris and Suzanne Saperstein from Los Angeles weren’t even at the shows, so it makes sense to show couture clients new collections from the intimacy of the atelier. Personally this is my favorite way to see the collections, the only way one can really appreciate the craftsmanship, the embroideries and the hundreds of hours that have gone into the making of each garment.
We enjoyed Alber Elbaz’s departure from the norm—the Lanvin designer held academic like seminars on the making of his next ready to wear collection at the hotel Crillon in which he demonstrated what he called the beginnings of his evolution for October. Men and women came away with a linen carnation pin in the colors Elbaz is considering.
The most powerful couture moment of the week for me was visiting the Fondation Pierre Bergé Yves Saint Laurent to see “Dialogue with Art”, a retrospective of Mr. Saint Laurent’s most brilliant garments. The jewel sequined “Homage a Bonnard” jacket took my breath away and “Picasso dress” is one I saw on a woman in 1979 in Paris, bringing back vivid memories. For me, Haute Couture and indeed all of fashion begins with Yves Saint Laurent. I miss him very much. Couture Week without him is a far less grand affair.
