Two decidedly independent couturiers, Giorgio Armani and Stéphane Rolland, presented haute couture shows in Paris on Tuesday, with collections overwhelmingly in black and white; although fermented with silver, platinum and translucency.
Armani Privé: diamonds and pearls
Giorgio Armani may not have dozens of collections left, but if this is one of his last, it was certainly one of the most beautiful.
A mix of shimmering translucency and pearls with plenty of black and white, the collection earned her her final ovation at the Palais de Tokyo.
One of two Privé evening shows, in which hundreds of spectators cheered on the VIPs arriving in a fleet of Mercedes-Maybachs. With Cate Blanchett (in dark glasses), Eva Green and Naomie Harris attracting the most intense attention from the paparazzi.
More of a Jazz Age show, with echoes of the 1930s in sculpted blazers, fluid pants in metallic tones, and plenty of gamine berets.
Starring a remarkable series of liquid metallic dresses where a phalanx of black models glided down the white faux alabaster catwalk.
Reaching the climax with the entire cast of models, backed by Glenn Miller's 'Moonlight Serenade', making their way down the long, narrow runway. Dozens of looks finished, dripping or held together with pearls. Rarely has Giorgio's workshop performed more brilliantly.
These days, Giorgio, 89, greets accompanied by two friends. Tonight, by two beautiful models, each in pearly evening dresses.
“That was beautiful! And to think that he's almost 90 years old. It's really extraordinary,” enthused Alexandre Mattiussi, founder of AMI, who joined French designer Simon Porte Jacquemus in the front row.
Stéphane Rolland: Black and White as Brassaï
No couturier seems more French today than Stéphane Rolland, whose final show of the afternoon was an ode to Paris and l'amour.
Presented inside the Salle Pleyel concert hall, the show cast quite a magical spell with its grand silhouettes, hyper-elegance and elegant humour.
Like its program, a mix 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 photographs, almost the entire collection was in black and white, with only a few silver touches.
Rolland cuts with great flourish, sending arcs and fragments vertically from the hip or shoulder, from pantsuits; tuxedo or grand guignol dresses.
Presented in a packed room, where the track was a 20 meter wide esplanade built on 30 rows of seats and theatrically illuminated with enormous rays of light. Where the soundtrack included Edith Piaf singing 'Autumn Leaves', before Nat King Cole closed the show with his version of the same song.
Stéphane paired impeccable boleros with floor-length dresses; or cut loose tuxedo coats with swirling hoods. In several brave moments, the tops were sculpted organza scarves. While shantung robes were cut into enormous tulip collars, using a masterful technique.
It speaks of an essentially French expression of fashion. And another important collection from Rolland, almost the last major independent French haute couture house whose fate remains in the hands of its founder.
His may not be a big business, with annual sales of less than €10 million, a small figure compared to Armani. However, its impact on fashion is important. Just like the expression of love on this show.
To quote Prévert: “This love, if violent, if fragile, if I have, if I despair, this love, beautiful as the day.”
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