Peet Dullaert made the most spectacular entry into the official haute couture calendar with the first fashion show at the French National Archives.
The show was a meditation on the idea of couture silenced (except for the cries of the rebel photographers, who unfortunately broke the spell), with one of the first looks a jacket still marked with chalk tracing the model's curves.
And there were curves. Dullaert made it clear that his collection was about the body of all shapes and sizes and played with proportions to expose it in new ways.
A beaded tunic arched at the shoulders, covered the arms like a sheath, and revealed the bare back; in fact, some looks were deceptively demure, featuring open backs printed with “Haute Couture, Paris, Peet Dullaert,” as if it were an official seal of approval.
Twisted clouds snaked around asymmetrical cuts or like raised collars that fell to tails. Fabric wrapped around the bust in a soft column, which folds into soft pleats at the neck. The seam of a billowing black dress with pearl buttons gathered like a wave to expose a flurry of blue satin. Tulle foamed on airy dresses, while a black coat featured heavy silver embroidery, a traditional symbol of couture.
Her use of jewels and pearls added texture, cinching one shoulder here, and movement, cascading down the back there, adding swing and the sound of soft chimes.
Dullaert works with unique materials, in many cases Tencel Luxe, and used crochet techniques that gave him a more casual feel, particularly in a men's suit that featured a vest and flared pants. Can knitwear be haute couture? It is the craft, not the texture, as Dullaert defines it. There was no standard silhouette, each look took its own shape.
What is perhaps most unique about Dullaert is that he had made his mark before the show even began, as he ran around escorting guests to their seats and making everyone welcome. Theirs is a more grounded approach to the inaccessibility of high fashion.
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