Haute Couture Fall 2010 Coverage: Chanel

By Christine Suppes, Editor-at-Large

The giant gold lion in the middle of of the Grand Palais was jaw dropping. Allegedly, Coco Chanel, a Leo, used this astrological theme in her collections nearly as much as she used the camellia, pearls and four leaf clovers. Unfortunately, we did not hear the lion's roar in this collection. Lesage should never be taken for granted, but this gorgeous work even appeared on street length dresses and matching boots. Who really wants to look like that these days? And even if one had all the money in the world, who can really afford to appear in this over-the-top way? The slim street length silhouette with a self bolero was striking and very modern. Three quarter sleeves appeared on several dresses and even fur coats. On the other hand, very few long gowns were shown. When the groom in a lion's head came out with the bride (in a short dress), many of us were hoping it was Lagerfeld. Alas, it was not. It was model Baptiste Giabiconi, the super handsome male muse of Mr. Lagerfeld. In the audience, Karl faithful Daphne Guinness showed us she was still trying, with a quasi Lady GaGa pompadour, yards of silver sequins and shoes that looked unwearable. The ultimate roar was perhaps Mr. Lagerfeld doing away with long gowns, at least for now. With the way things are going in the world, this might be a good sign in case we need to run for our lives!

Photos by Gianni Pucci / GoRunway.com

Haute Couture Fall 2010 Coverage: Basil Soda

by April Hall, Paris Correspondent
Sleek, black gravel covering the runway, French celebrities, and other notable global personalities, some with PA`s fanning them the whole time, set the perfect ambiance for the glamorous runway to red carpet to society gala collection that was Basil Soda`s for fall/winter 2010/2011. Perhaps aimed at the slightly younger crowd, the jewel blues and fuschias as well as whites and neutrals were all accented with gold, usually in the form of zippers. The entire presentation was a magpie's dream, with shimmer and shine and all out glamour in every ensemble. Soda's talent for draping and accentuating the woman's body was used this season to create an awesome feminine rocker chic. Lace, reptile skins, and superfluous zippers gave the beautiful silhouettes a decidedly more aggressive, rocker styling. On the few ensembles lacking these elements however, the result is a beautiful, figure-enhancing gown. The ultimate rocker evening booties worn by the models are a must have as well.

Photos, Basil Soda Fall 2010

Haute Couture Fall 2010 Coverage: Givenchy

by David Pedroza, Editor-in-Chief

Riccardo Tisci demonstrated his devotion to the craft of Haute Couture with his latest couture collection for the house of Givenchy, with a new found identiy due to Tisci's experiments and attempts throught the past few years. The House declared to stop runway presentations for couture, in favor of private viewings of the colletion, presenting only 10 exceptional works of art. Each piece, with a concetration in evening wear, was an great execution of haute couture by Givenchy's Atelier. Gowns of lace covered in fine beading, requiring up to 1,600 hours of hand work by techniqualy skilled hands. One catsuit was decorated with a Swarovski crystal skeleton, and a dress in Chantilly lace was appliquéd in leather duplicating a lace pattern with cascade of dégradé ostrich feathers. Riccardo Tisici proved there is a strong demand in haute couture, especialy in the rare and the beautiful.

Photos of Givenchy Haute Couture Fall 2010 (Via: givenchy, fashiongonerogue)

Haute Couture Fall 2010 Coverage: Alexis Mabille

by David Pedroza, Editor-in-Chief

Alexis Mabille has presented his first outing of Haute Couture, without the presences of ready-to-wear, which in the past he has presented in one collection. For Fall 2010, Mabille wanted to maintain a ready-to-wear sensibility by making his collection of mix and match pieces; Each piece can easily be worn with the next one. The silhouettes were simple and reflected a ready-to-wear accessibility, but the workmanship was Haute Couture at its best. Mabille put his workmanship in the spot light, especially with a few stand out pieces such as a black velvet dress, hand-embroidered and beaded by the Atelier Cecile Henri. Presenting only 12 exquisite, precious pieces, which can be ordered with less elaborate ornamentation for the couture client with a smaller budget. Alexis Mabille not only presented a beautiful collection, but a smart one for a new and modern world.

Photos Courtesy of Alexis Mabille

Haute Couture Fall 2010 Coverage: Dior Couture

By David Pedroza, Editor in Chief

John Galliano has gone full bloom at Dior, for Fall. Taking inspiration from the garden of Eden, and the study of botany, to sculpt fabric into precious flowers. The models looked like they stepped out of a Norman Parkinson photograph, and into a botanical garden. The textures and form of each garment showed the master and technical skills of the Dior Atelier. Galliano never fails to use the full potential of the tailors and dress makers at Dior, challenging them every season to create new silhouettes. Although Galliano did not leave his theatrics, the clothes where wearable and can easily be worn to cocktails. The proof will come in the orders the House of Dior receives.

Post Script: Master the Art of Style will have full coverage on the Paris Couture collections, July 5-July 9.

Photos by Gianni Pucci for GoRunway.com

Givenchy Haute Couture, By Appointment Only!

Givenchy Haute Couture Show room, Givenchy 2008

Givenchy will start by-appointment only service for clients and editors on July 6, 2010 to view the Haute Couture Collection.
According to WWD, this change is not the Houses way of saving money. In fact the change would cost them about 35 percent more than staying with runway presentations. Tisci wants to make haute couture special again and go back to the House's roots. He will be created 10, unique ensembles, putting his concentration on evening wear and embroidery.

The 10 looks will be displayed on live models (like Lara Stone and Mariacarla Boscono) and mannequins for clients at Givenchy’s couture salons on Paris’s Avenue George V, which will undergo renovations. Givenchy also plans to add couture jewelry, but they didn’t say when haute jewelry will be launched. “After a crisis, a new era always starts,” [Tisci] added. “It’s going to be a very good moment for creativity. For couture, it’s going to go back to being very exclusive.” (WWD) Haute Couture has stopped being a market strategy, and has in fact become about selling and making beautiful clothes. -David Pedroza

Post Script: July 5, 2010 is the start of the Fall 2010 Haute Couture collections, Master the Art of Style will be covering the collections.

Hidden Jewel of Paris: On Aura Tout Vu Haute Couture

by April Hall, Paris Correspondant
A small storefront hidden on a narrow street behind the Palais Royale, the On Aura Tout Vu atelier is easy to find only because there are two people smoking in front of it. I am welcomed inside and offered a seat in the alabaster-coloured showroom, from where I can see racks of dresses packed in plastic, and millions of bejewelled…everything. From perfume bottles to headphones to a curious electronic rabbit called la bastague, OATV has put their couture touch on just about everything.

AH: I understand that you just returned from Georgia Fashion Week (the sovereign Republic of Georgia). How was that?
OATV: It was very busy, but it was interesting! It was the first Georgia Fashion Week, so we had to see everything. We were one of two French houses who showed, and we ended up going to 30 presentations. We are so tired! Our flight left at 4 am this morning, so excuse me while I go pour some coffee…

Livia and Yassen of On Aura Tout Vu, in their Paris Atelier, Photo by April Hall

AH: Describe the OATV woman.
OATV: Any woman with a strong personality; someone who wants something unique and doesn’t care about the label. She doesn’t care that it’s not Dior or YSL, she just wants a special piece she can wear.
AH: Do you have a definitive client base? Is there a certain lifestyle or client you design for?
OATV: We are never thinking of selling any piece. We just design what we want, and if a client want to change a detail such as embroidery, print, or color, we will do that for them. We know designers who think, “ oh I must design to sell”, and they cannot change to please the client. They become commercial and keep designing what they believe will sell. We like to keep our artistic vision intact.
AH: Is there any specific person or place that serves as a constant muse for your work?
OATV: No, just everything. Each person, the cinema, music, a strong personality – all of it can be inspiring. The street, travel, even coffee…or [hot] chocolate at Angelina*!
AH: Do you have favourite materials that you work with?
OATV (Livia): I love crystal, and lace, and chinchilla. I also love mink; there is this special cut we did once where we used only the longest part of the fur. It was so soft you couldn't believe it.
OATV (Yassen): All. It depends on what we are doing and what kind of mood I’m in.

Embroidered Jumpsuit by On Aura Tout Vu, Spring 2010 Haute Couture
AH: Is there a favourite piece that you have designed?
OATV (Livia): We made wood lace once. It was literally lace made from wood, and from a distance you couldn’t understand that it was wood.
AH: Where are those pieces now?
OATV: There is a museum of lace in Calais, France, one of the dresses is there.
OATV (Yassen): Maybe one of my favourite’s was our first show. We used globes of the world and it was about how the world should go global. We were thinking about the “Globetrotters” and how the world is big and small at the same time.
AH: Most of your work is really unexpected. In your opinion, what is the most surprising idea you have had?
OATV: One time we had a fashion show with balloons. There were balloons everywhere, we filled the entire room with 13,000 balloons. We had it so that when the girls [models] would take something off, the balloons would raise it up. The girl would take off a jacket and it would float up to the ceiling.
AH: How has the experience been of collaborating with some big names in style and electronics?
OATV: It has been very fun. I enjoyed our collaboration with Swatch, and we made a dress entirely covered in watches. Each watch was set on a different time zone of the world. It was very time-consuming, but quite fun.
AH: How long does something, like a Swatch dress, take to produce?
OATV: If we have a deadline, it takes two people about one week to do. All of our embroidery is hand done – it takes a very long time.

Detail of Lace and Chiffon beaded dress, Spring 2010 Haute Couture

AH: I hear that you worked on a car once? How did you do that?
OATV: It was a joint project with Lalique. It was a jewellery Smart car; we covered it with Lalique crystals on the metal and made the inside lace and crystal as well. It was auctioned for charity at Christie’s in London and someone from Monaco bought it. We talked to their driver once and he said that whenever they drive it in the street, everyone stops and stares.
AH: Is there any specific person you would love to dress or accessorize one day?
OATV: Honestly, it’s not about the person. When we see a woman with a big personality we want to dress her. Already we have dressed princesses and important people, but it doesn’t matter. If we don’t have a good feeling, then we won’t dress her.
AH: Any hints as to ideas you are working on right now?
OATV: Well, we might go to Mexico, and we’re thinking about a new perfume project. Also, we will send a letter to Tim Burton. We feel that OATV and Tim Burton seems already a good match, so we are very interested in working with him.

Necklace by On Aura Tout Vu, photo by April Hall

On Aura Tout Vu is based in Paris and available in boutiques and fine retailers around the world. For information, visit their website http://www.onauratoutvu.com/.

Post Script: Angelina is a French restaurant that is renowned for its signature thick and rich Chocolat a l’Ancienne hot chocolate.