28 March - 3 April 2002
Issue No.579
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Al-Ahram Weekly Online 28 March - 3 April 2002 Issue No.579 |
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In stitches
Fayza Hassan, in Paris, finds that ready-to-wear is a matter of interpretation
It had been raining over Paris for two days, but the clouds finally decided to sail away, allowing a brand-new sun to smile, albeit shyly, upon the throngs of well-heeled Parisians and members of the international press conveyed to attend Christian Dior's fall-winter prêt-a- porter collection for 2002-2003.
Other similar events were going on all over town, not muffled in the least by the momentous announcement of Yves St Laurent's retirement. Fashion journalists raced from one venue to the other all day long and photographers took their shots on the run before having to set up their equipment for yet another parade, somewhere else.
One of the most talked about surprises was Jean-Paul Gaultier's collection for the coming winter. Gaultier, always an original, has wrapped luxuriously clad, graceful bodies in laces, ribbons, strips of fur, straw, or leather bonds, creating the rather novel silhouette of a most enchanting female astronaut, who would probably find it impossible to strut down the Champs Elysées in such glittering accoutrement without attracting the astounded attention of even the most world-weary passerby. In a variation on the theme, Gaultier offered miniskirts shaped as bags tied on one side; the other, pouch-shaped, dangled freely on the other hip. Elsewhere, Viktor & Rolf showed well-appointed cold-weather wear in blue screen, onto which trance-inducing images were projected as the models strolled languidly down the runway. Would Galliano, the creator of the Dior collection and Gaultier's customary contender, at least in Paris, for the title of most outrageous creator, be any match for such extravagance?
Dior was unveiling his collection on Boulevard Varsovie where, in front of the Bassin du Trocadéro, a huge white tent, dubbed Espace Ephémère, had been raised. Young men in impeccable dark suits checked credentials and invitations and ushered guests and reporters to places marked with their names. Photographers raced up and down the aisles, trying to secure the best spots while keeping an eye on the door for important arrivals. Victoire de Castellane, designer of Dior's luxury jewellery, made a remarked entrance, immediately followed by a number of personalities who drove the newsmakers into a frenzy. An epilepsy-inducing crescendo of flashbulbs surrounded the arrival of Bernard Arnault, chairman and controlling shareholder of LVMH. The world's largest luxury conglomerate, the group owns, among many other labels, both Christian Dior and Louis Vuitton, the latter best known as makers of opulent luggage.
Although the tent could seat 900, well over 1,500 spectators were standing, crouching on the steps or perched on the makeshift walls. The women were beautiful, elegant and charming, many sporting at least one Dior item and some sporting several accessories -- most commonly, last season's famous saddlebag, from which the famous initials dangled.
Brigitte Lefebvre, Dior's Middle East representative, had gathered all the Arab press in one of the best spots. Al-Ahram Paris bureau chief Laila Hafez, Enigma's editor Yasmine Shehata, and a dozen correspondents from Kuwaiti, Lebanese and Emirates papers were chatting animatedly. Jeremy Healy's music contributed to the mystery of the atmosphere: the interior of the space was pitch black, the catwalk illuminated in eerie, but flattering, red.
Suddenly the music rose to a crescendo, muting the brouhaha of excited conversations. Top model Gisele Bundchen strode out and the photographers scrambled to attention, jostling for the best spots. In a gold-embroidered burgundy cotton jersey dress, her head coiffed with an astounding Iroquois headdress and soft Indian boots on her feet, she looked like a pretty little girl whose imagination had ran wild. As the models -- most notably, the stunning Alek Wek -- marched down the catwalk, the youthful spirit and humour of the collection became obvious, as did the luxury of the material and Galliano's attention to detail. Sequined silks, embroidered denim and expanses of lace and fur transformed basic items into feasts of colour and light. Short jackets, vests and blouses embroidered and hemmed in leather and fur were coupled with printed or lace skirts, glitter-encrusted trousers or backless dresses; the final touch was the addition of a pair of bright wool socks stuffed into stilettos in rainbow hues. Motifs recurred in the accessories and this season's must-have multi-pocket bag echoed the military theme picked up in sequined gauze evening dresses held across the shoulder by a thick, studded canvas strap.
The stunning hair styles, reminiscent of birds of paradise had been realised by Orlando Pita, who was also responsible for Galliano's coiffure. The designer took his bow in a strict black suit, but his hair was twisted into pigtails more elaborate than any of the models' styles.
As the lights came on and the applause finally died down the spectators mulled over the message. One could still rely on black, mercifully, but for the rest it was a matter of flair. If it matches, don't wear it: that seems to be one rule to follow. But there is more to it than meets the eye, of course: one can be creative, but only if one possesses impeccable taste, a sense of both adventure and humour, extravagance but exquisite artistry.
A few days later, the collection could be viewed by invitation at 30 Rue Montaigne, the Dior sanctuary where it all began in 1949. Every item was simple, luxurious and beautiful; strangely enough, everything was also eminently wearable. Galliano's genius is to throw together several items in the most unexpected ways, creating a thoroughly studied mixture of infinite elegance and total freedom that can only be produced by the most consummate of artists.
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