Two resolutely independent couturiers – Giorgio Armani and Stephane Rolland – staged couture shows in Paris Tuesday, with collections that were overwhelmingly in black and white; though leavened with silver, platinum and translucence.
Armani Privé: Diamonds and pearls
Giorgio Armani may not have scores of collections left in him, but if this is one of last, it was certainly one of his most beautiful.
A blend of shimmering translucence and pearls with lots of black and white, the collection won him his latest standing ovation inside the Palais de Tokyo.
One of two evening Privé shows, which saw hundreds of spectators cheering on the VIPs arriving in a flotilla of Mercedes-Maybachs. With Cate Blanchett (in dark glasses), Eva Green and Naomie Harris attracting the most intense paparazzi attention.
A rather Jazz Age show, with echoes of the 1930s in sculpted blazers, flowing metallic-hued trousers and lots of gamine berets.
Starring a remarkable series of liquid metallic dresses where a phalanx of black models slinked along the white faux-alabaster catwalk.
Climaxing with the entire cast of models, backed up by Glenn Miller’s ‘Moonlight Serenade’, touring the long narrow runway. Dozens of looks finished, dripping in or held to together with pearls. Rarely has Giorgio’s atelier performed more brilliantly.
These days, the 89-Year-old Giorgio takes his bow accompanied by two friends. Tonight, by two beautiful models, each wearing pearly evening gowns.
“That was beautiful! And to think he is nearly 90. Truly, truly remarkable,” enthused Alexandre Mattiussi, founder of AMI, who joined fellow French designer Simon Porte Jacquemus in the front row.
Stephane Rolland: Black and white like Brassaï
No couturier seems more French today than Stephane Rolland, whose latest show earlier in the afternoon was an ode to Paris and l’amour.
Presented inside the Salle Pleyel concert hall, the show cast a rather magical spell with its grand silhouettes, hyper elegance and graceful mood.
Like his program, a blend of Jacque Prévert’s mellifluous poetry and Brassaï’s iconic photography of pre-war Paris, the collection evoked the French capital in every look.
And like Brassaï’s photos, nearly all of the collection was in black and white, with just a few dashes of silver.
Rolland cuts with great flourish, sending arcs and shards vertically off the hip or shoulder – from pants suits; tuxedos or grand guignol gowns.
Presented to a packed-out hall, where the runway was a 20-meter-wide esplanade built on top of 30 rows of seating, and lit theatrically with huge beams of light. Where the soundtrack included Edith Piaf singing ‘Autumn Leaves’, before Nat King Cole closed the show with his version of the same tune.
Stephane paired crisp boleros with floor-length gowns; or cut sweeping tuxedo coats with swirling cowls. In several bravura moments, tops were sculpted organza scarves. While shantung robes were cut into huge tulip necks, using magisterial technique.
Talk about a quintessentially French fashion expression. And another important collection from Rolland, almost the last great independent French couture house whose destiny is still in the hands of its founder.
His may not be a huge business, with annual sales less than €10 million, tiny compared to Armani. Yet his impact in fashion is important. As was this show’s expression of love.
To quote Prévert: “Cet amour, si violent, si fragile, si tendre, si désespéré, cet amour, beau comme le jour.”
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