A tale of natural, intimate and artisanal haute couture.

Franck Sorbier's haute couture show, held at Studio Harcourt on January 24, once again left an indelible mark. As models, barefoot shepherdesses elegantly draped in rustic hand-embroidered dresses, graced the stage, the couturier stirred emotions. As one of the last remaining artisans practicing his craft in its purest form, Frank Sorbier stands out in the Parisian fashion scene, championing a haute couture that is both authentic and humanistic.

Wearing silk corolla dresses and lace petticoats, models stepped on scattered straw and proudly displayed dried bay leaves nestled in their wicker baskets. From time to time, they turned gracefully, twirling with them their long-fringed Spanish Manila shawls, the famous shawls of flamenco dancers. Four singers from the Sarocchi Ensemble accompanied their movements and dance steps with a cappella polyphony, resonating popular songs of traditional Corsican music.

“The healing songs of shepherdesses served as the theme for this Spring/Summer 2024 collection. Naturopathy has great meaning in today's world. This concept intrigued me and led me to explore a humanistic couture, something that is comforting, similar to a benevolent gesture. charm,” Sorbier shared at the conclusion of his show.

The creator painstakingly put together the entire collection alone together with his wife, Isabelle Tartière. “There was a time when we were a little more numerous,” he adds modestly.

Sunflowers, poppies, daisies and cardabellos (a type of thistle) were displayed on draped skirts and tunics, with traces reminiscent of the tapestry fabrics of the 1950s and 1960s. Fabric wildflowers were artfully scattered, like an unassembled bouquet. , on a magenta silk skirt veiled with black tulle.

“There is a genuine connection with nature, very far from the conventional image of haute couture, which tends to be very solemn or lyrical and diva. I go in a different direction, exalting the divas of the countryside with a desire for tranquility” , continued the couturier. In Sorbier's couture lexicon, informality and simplicity are nothing like mere simplicity. As he himself aptly defined his work, it is “the art of craftsmanship.”

While the outfits may have looked classic – with bustiers, tailored jackets, strapless dresses, draped skirts and seemingly endless fans – the materials used were anything but ordinary. The couturier, for example, shaped a fitted Colombe jacket with a high collar using a raffia fabric that extended seamlessly into a long fringed skirt. Elsewhere, he employed colorful scoubidou, intricately macramé lacing to compose a stunning top with various interlocking patterns, which cascaded over a black skirt with multicolored stripes.

To bring his fabrics to life, Sorbier skillfully combined different materials by sewing them together, a technique he has coined “compression.”

This method came in various designs, be it a flowy chiffon dress, a silk charmeuse top, a tulle dress or a strapless organza dress.

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Furthermore, Sorbier elevated his creations with countless precious imperceptible details. Seashells were discreetly embroidered tone-on-tone on the bodice and hem of a pleated white dress. A gold tulle dress was adorned with trimmings, metallic threads and ribbons. A satin jacket was embellished with beaded motifs, sequins and organic guipure lace. Finally, some sets featured 20 different types of lace, intricately cut, appliquéd and inlaid, creating a mosaic of art.

“Everything was made by hand with care and using ancient techniques,” highlighted the designer.

“Many couturiers present only two or three pieces of couture, and the rest is luxury ready-to-wear. I find it more intriguing to take a different approach. Haute couture must evolve; it cannot remain stagnant. Young customers are no longer They want to “Wear Cinderella-type dresses that are everywhere. They look for exclusivity and collaboration with couturiers. What really matters is experiencing renewed emotions,” she concluded.