We are talking about a new entente cordiale. A meeting between the enfant terrible of Parisian fashion Jean-Paul Gaultier and the high priestess of harsh romanticism, the Irishman Simon Rocha, in a haute couture collection of exceptional quality and creativity.
Rocha precisely, but never exhaustively, analyzes key elements of Jean-Paul's DNA, but always combines them with his own sense of sensual nostalgia.
“I loved. I'd say 12 points for Ireland, and what a collection! France with Irish-Chinese influences. Simone understood my codes, injected humor and gave me emotion and wit, which I loved,” Gaultier enthused backstage, while Kylie Jenner, Baz Luhrmann and Kelly Rutherford celebrated this unique show.
The collection marked the fifth by a guest designer in Gaultier couture, following Chitose Abe, Glenn Martens, Olivier Rousteing and Haider Ackermann. But while the others contained great clothes, they could all fall into pastiche. Rocha's portrayal of Jean-Paul was the most in tune with Gaultier's sense of genius and brilliance.
From the initial look, an almost mind-blowing sheer metallic organza crinoline, finished with hand painted starburst and snake motifs. Or a perfect combination of Simone Gaultier with a lace-up corset mega dress in duchess silk with straps and an explosive open back in tulle. Talk about a marriage of mode Made in heaven.
Everywhere were Rocha's artful touches: from hand-painted organza tattoos to red clover crystal bra designs. While previous guests had slavishly conjured clichéd sailor ideas, Rocha devised a sailor-capped naval femme fatale in a remarkable mini dress composed of a ruffled neckline and crystal-embroidered tulle ribbons. And her eyes were twinkling in the front row in a slender ivory silk organza bustle dress embroidered with lace feathers.
One could imagine the enthusiasm Gaultier's Paris workshop must have when working with Rocha. Making an archival style green/black taffeta coat with a petal shaped tapered bra. While Rocha's obsession with pearls gave rise to another divine corset dress finished with dozens of strands of baroque pearls.
All anchored with feather-encrusted versions of Rocha's favorite plexiglass platform pumps and brogues.
“Jean-Paul gave me full license, which I loved. It felt like a real gift. So, I focused on Gaultier loving the collection. That was really all he wanted to do. It has been an amazing experience. I started with the glove, the breasts and the female form, exploring and building on that and what he did to the garment and the manufacturing. And look at a second skin of the body,” explained Rocha.
Overall, the collection and show felt like a respectful ode to the craft of couture. A relatively small audience seated on plywood school chairs; a catwalk covered in silver foil and a soundtrack by DJ Frederic Sanchez that combined the opera arias of classic couture with the rock of Gaultier's catwalks.
There was always the feeling that Simone was visibly celebrating the discovery of a haute couture atelier and its secrets. She even respected Gaultier's show schedule, where each look is meticulously detailed, often using French haute couture terms. aigu, maille bloquée, silk cigaline either soutien throat, that is, stiletto heel, blocked thread fabrics, transparent silk and bra. Of which there were many in this show.
While Simone feminized Gaultier's famous Madonna conical bras, with a version that twisted almost like a tongue.
Working with a couture atelier, Rocha told FashionNetwork.com, was “incredible, so artisanal, having the ability to make dreams come true and having that openness to take an incredible historical technique and bring it to a modern world.”
In total, the most original couture show so far in the four-day seasons of 30 official shows. Not bad for a debut in Paris.
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