Although concerted, it is hard to say that Haute Couture Fashion Week is a compelling online event
From top left: Alexis Mabille, Naomi Campbell, Azzaro, Guo Pei, Julien Fornié, Iris van Herpen, Margiela (centre)
Naomi Campbell opened Haute Couture Fashion Week (HCFW) from her home, somewhere. Wearing an un-couture black T-shirt with a message “Phenomenally Black”, she showed a political side not many have seen. She urged for change in the fashion business and to draw attention to the lack of representation in fashion. As she said, “the time has come to collectively call the fashion world to task regarding inequality in our work spaces and in our industry.” We did not expect a fashion week to open on such a sombre note, but these are, for many, gloomy days.
Yet, the just-concluded autumn/winter haute couture season chose not to reflect the gloom. Fantasy is still at the crux of couture, the style and attitude of indie pop stars too. Chanel’s Virginie Viard had her mind on the halcyon days of disco, saying in the video-show notes that she was inspired by those times when she went with predecessor Karl Lagerfeld to Les Bains Douches and Le Palace in Paris, both popular discotheques of the ’80s. Was she saying that she was missing the sybaritic night life now that nightclubs are not (yet) opened?
Of the 34 designers listed in the official calendar (strangely, Balmain is not named), none presented an entire collection, although some showed enough to provide an idea of what the season’s looks might be about. Guo Pei, in a video shot in Beijing, provided eleven from a collection called Savannah. Unsurprisingly, images of animals appeared as realistically as possible. The “sustainable couture” brand Aelis showed 15 looks in a weird and wonderful video that featured extraordinary dresses, some modelled by men.
For some brands, it was an opportunity for image building or enhancing. Iris Van Herpen, in a beautiful short film titled Transmotion, showed only one white dress. A single piece too was offered by the Lebanese designer Rabih Kayrouz who made a dress entirely with grosgrain ribbons. Margiela, too, showed one outfit, but you could not make out what it was in the barely-anything-to-discern colour-negative video posted, which could have been shot via a temperature scanner.
The Hedi Slimane domain of alt-music seems to be preferred by couturiers… unconventional vocals and strange beats, not necessarily the design seemed to drive the message of modernity
If one was not few enough, Valentino’s presentation takes the cake: The house showed none! Unless a fabric floating can be considered a dress. In fact, it was less a presentation than an invitation—soundtracked by FKA Twigs—to a later event in Rome involving the photographer Knick Night. It was the same with Elie Saab—the house showed their bejewelling and embroidery processes, spliced with scenes of nature that probably inspired the work, but there was no dress.
Songstresses shared the limelight with some of the dresses. There was the French singer Yseult, singing on a floating catwalk at Balmain. At Azzaro, Olivier Theysken’s first couture collection for the house was revealed in what could be a music video, featuring the Belgian musician Sylvie Kreusch. From the five outfits, it is hard to say if this could be the big comeback that has so far alluded him. The Hedi Slimane domain of alt-music seems to be preferred by couturiers. From Mandy Takes a Gun at Christophe Josse to Acid at Chanel, unconventional vocals and strange beats seemed to drive the message of modernity. There was, however, one without music: Adeline André’s soundless slideshow.
Humour and wit are almost entirely missing, except at Viktor & Rolf. Shot against a doorway of an empty room, the video was voiced by the musician Mika, who described the nine-piece capsule as “three wardrobes for three mindsets in these extraordinary times of change.” Of one sweeping, full-length coat, he said, “social-distancing never felt so sweet in this white faux-leather manteau.” The first and only video to bring on a smile.
Given that masks are accessories du jour and many, many more jours to come, only two designers showed them: Rahul Mishra—festooned with butterflies— and Viktor & Rolf, noting that the face mask has “won global acclaim as the smartest new accessory of the season”. There were face shields too. At Xuan, Vietnamese designer Thu Nguyen made them out of flowers; they totally obscured the face, while at Aganovich, entire heads were more completely covered than they would be with a balaclava!
Many couture houses claim they have ways to connect with their clients directly, to inform them of their latest collections. This digital HCFW, therefore, isn’t necessarily for those who have this special relationship. Touted as an event that gives everyone a front row view, it tallies with the notion that fashion is entertainment. But the video presentations are uneven, with some lost in their own artsiness. Sure, couture has always had its share of affected creativity, but how this can lift spirits and convince viewers that couture is good and necessary and to be supported, even if only voyeuristically, we really don’t know.
Screen grabs: respective brands/Youtube