When ‘Atelier Versace’ appeared on the Haute Couture calendar, it was only natural that a wave of curiosity and excitement would surround the presentation of Donatella’s impending collection during the usual three-day Haute Couture ‘celebration’, an event from which the label has been absent since 2004.

Explicit and provocatively feminine it certainly was, as undeniable sexiness and unreserved glamour are the brand’s truest features. Bustier dresses prevailed, both long floor-length gowns and mini versions: gold metallic pieces were strategically inserted to enhance busts and hips, and contrast the tiny waists, as rigid parts were paired with fluid, transparent fabrics. The whole exuded a particular 80’s aroma, with its power dressing hints and winks at Thierry Mugler’s 1988 hourglass-with-a-futuristic-appeal silhouettes. In an unusual palette of grey, apple green, vivid orange, yellow and gold, and matched with imposing shiny heels, this new Versace collection was playfully ostentatious and the personification of sexy Italian glamour itself.

While most brands feel the need to simplify the styling of their collections: minimum accessories, a simple hairstyle and natural makeup, to match their clients’ seemingly simpler lifestyle, Jean Paul Gaultier keeps his sophisticated style and taste for a fine spectacle. Thus, each season, editors, clients and guests look forward to the Gaultier Paris show as a promise of watching a fairytale. From the manicure to the hairstyle, makeup, and tights, jewels and attitude, from head to toe, each of his outfits is conceived to match the persona he intends to portray. With the aid of meticulous styling, his ensembles maintain their complexity and layers of meaning. As for his muses, their strong personality is definitely accompanied by an outstanding look, usually bending towards the cartoonish side. Last Wednesday, his collection was an ode to the recently gone and much missed, Amy Winehouse. All Gaultier’s touches were definitely there: white but mostly black lace, lingerie, corset-like dresses, fishnet trousers and skirts, his sailor top in silver and his favourite, but this time oversized, trench, all mingling with Winehouse’s famous beehive, beauty spot, and sporty appeal. Part Amy’s style and part how Gaultier would have dressed Amy, this collection was as colourful, lively and risky as the designer has accustomed us to, but there was indeed an extra sprinkle of nostalgia as white and later black veils crossed the catwalk, with four singers humming Back to Black’s familiar tune in the background. A beautiful tribute that was as poetic in attire as it was serene in spirit. 

In contrast to the curvaceous silhouette style, Karl Lagerfeld presented an all-blue collection, with an occasional use of Chanel’s typical white and black, of 60’s straight, tube dresses, stretched-out neck outfits with hand-length above the knee skirts and shapes that although impeccably cut accentuate neither bust, waist or hips, a fit that is pro-comfort and suits every body type. Guests were impressed by the aeroplane setting awaiting them at the Grand Palais, as they all took their seats inside it to watch a collection that reminds us of Courrèges and Cardin’s 60’s futuristic air hostess uniform cuts. Luxurious and modern with an attractive palette in all shades of blue, all short dresses were elegantly adorned. 

Furthermore, uprising star Alexis Mabille presented a collection of romantic satin and lace floor-length evening gowns in vibrant blue, red, fuchsia, and green.

With high gloves and complemented by giant flower headpieces that recall spectacular 1900’s hats, Mabille’s silhouettes could be found in portraits by John Singer Sargent or in Colette’s novels. To crown the whole: a gorgeous wedding gown all in mother-of-pearl and goldish satin.

To be continued…

Louise Kissa 

lkissa@neurope.eu