Opinion / Genevieve Bates
Dream teams
As a long-time freelance editor of runway reports, the first week of July has always been my favourite time of year: it’s when the grand French fashion houses present their autumn haute couture collections. Every show is a neat bouquet of elegance. Unlike the distended, biannual, month-long glut of ready-to-wear shows in the four fashion capitals, Paris Couture Week features just a handful of shows over three days and offers an aspirational vision of lush details and graceful silhouettes.
It’s also a showcase of age-old expertise and technical innovation. For the former, look to Chanel (pictured). For the latter, turn to Iris van Herpen. This season, each showed the power of collaboration. Chanel creative director Virginie Viard drew on the house’s family of workshops, including multiple embroidery specialists, feather and flower designer Lemarié, and milliner Maison Michel. Dutch couturier Van Herpen, who often works with scientists pushing the boundaries of materials, enlisted French world-champion skydiver Domitille Kiger to model her final look during an aerial performance. No mere gimmick, the stunt beautifully demonstrated the engineering of an elaborate dress handmade from technical performance fabric.
Only a lucky few will ever wear couture but these houses serve as the R&D department for the fashion industry and give us all something to dream about. To wit, read Paul Gallico’s tragicomic 1958 novel Flowers for Mrs Harris about a downtrodden London cleaner who travels to Paris to buy a Dior dress. After Dior’s show on Tuesday – its first catwalk presentation with a sizeable audience in 18 months – creative director Maria Grazia Chiuri said that the showcase was her way of “reclaiming the values of haute couture”. These are values – hand craftsmanship that lasts a lifetime, the antithesis of throwaway fast fashion – that are worth championing. Thank God, couture is back.