There is a certain idea of Paris, of a city devoted to art, excellence and the elegant liberation of women, which was the concept that underpinned the latest epic couture show by Stéphane Rolland this season in the French capital.
Entitled “Argument”, the collection was imagined as an encounter between ballerina Ida Rubinstein, and composer Maurice Ravel. The result was a Hispano/Arabic meeting of cubic shapes, baroque detailing and sensual style.
Rolland makes couture with great gusto, never more so than this season, where his show was presented inside the Théâtre des Champs Elysées, which despite its name is located on the capital’s most important luxury thoroughfare Avenue Montaigne. The avenue of Dior’s headquarters, Marlene Dietrich’s apartment, and the gilded Hôtel Plaza Athenée. And this theater is where Stravinsky first performed “The Rite of Spring”, and where Karl Lagerfeld debuted the first Fendi “haute fourure” show.
Rolland made the Art Deco space his own, inviting conductor Zahia Ziouani and the Divertimento Orchestre to come and play Ravel’s synchronic Bolero. Though the muse of the collection was Rubinstein. Born into a wealthy family, Ida escaped Russia to become a star dancer in Les Ballet Russes, and an icon of the Belle Epoque. Though in 1938, she had to flee her beloved Paris for London due to anti-Semitism and the looming war.
Ida’s legendary sensuality and dramatic poses were seen in some majestic clothes. From the cubic blazers paired with pencil skirts or jersey dresses finished with huge regal collars, to Stéphane’s signature one-shoulder cocktails with single enormous leg-o’-mutton sleeves to excellent tuxedo jumpsuits with tulip sleeves. Everything trimmed and finished with crystal brooches, buckles, piping and mini skullcaps.
For evening, Rolland went gang busters with a series of sinful red crepe robes and gowns in sculptural shapes worthy of Brâncuşi.
Rolland remains an Indie designer devoid of a deep pocketed investor, and his skill in using limited resources to great powerful images is also part of a rich Paris artistic tradition. Like today, when he projected huge images of musical metronomes on the stage curtains in a Man Ray-worthy opening. Later, as the models began to mass on the famous stage, he projected 1930s black-and-white videos of sewing machines and spindles as the backdrop.
The mood rising to a crescendo with Ravel’s “Boléro”, as statuesque models appeared in long gazar skirts topped by bolero jackets embroidered in gold and crystal. Leading to a huge roar of applause when Rolland took his bow, justly recognized with a standing ovation for respecting the duty of artists in Paris. And in fashion terms, continuing a tradition that has lasted since the Sun King.
Ashi Studio: Subtle salon style
Couturiers can come from all over the planet, but once they settle in Paris, the mysteries of the city almost inevitably feed into their designs, as happened in a rarefied and refined couture show from Ashi Studio on a steamy Tuesday evening.
This season, the Saudi-born Ashi’s inspiration came from the flea markets of Paris, though the real source was an evocative invocation of Paris couture.
At times the show felt a little like a fashion tutorial, where Ashi was determined to show his atelier was capable of matching any of the great Paris houses. A tutorial he passed with honors, from the remarkable silver sequinned gown over which flew small, embroidered birds, to the two playful monkey clambering over a leather corset.
There were echoes of other couturiers – Galliano, McQueen and Gaultier – but all very much on Ashi’s term. Nothing was copied in this show. Neither the superb white bustier dress with long train, nor the magnificent Restoration moll ecru lace dress with tulip sleeves
Ashi’s beige silk coat sprouting micro feathers was also excellent. And full marks to stunning cut-out corset dress with a train decorated with curling stays.
Staged with subtlety inside a triangular shaped Haussmann-era building in the 16th arrondissement in classic salon style, with an ecru carpet and matching ottomans for seats, it felt like a quintessential Paris moment. Which was surprising, as Ashi has built his reputation on evoking the raw desert and gritty topography of his native land.
But also great news, since this show marked Ashi out as a couturier determined not to rest on his laurels, but experiment and broaden his creative spectrum.
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