A little bit of history repeating: something old makes something new, at Raf Simons’ Dior and Karl Lagerfeld’s Chanel
The much-vaunted and oft-debated “point” of haute couture is tied up in history. Haute couture is living history, less a retrograde throwback and more a direct link to the eighteenth and nineteenth centuries. The latter was when “haute couture” as a term was officially incorporated by Charles Frederick Worth, couturier to Empress Eugenie and most of her court; the former was when the idea of a fashion dictator was pioneered by the first celebrity dress designer, Marie Antoinette’s “Minister of Fashion” Rose Bertin. Those are some heavy antecedents, but they’re ones couturiers often bank on. Buying haute couture is a bit like buying a stake in a past you can never be part of.
There’s a trend right now for fashion houses to show the collections we still dub Cruise in far-flung locales. I’m writing this in the airport in Dubai, following Chanel’s show; a week ago Dior Cruise-ed to New York and chugged us from Manhattan to Brooklyn on a chic branded ferry; last summer, that house showed in Monaco, coincidentally the site of Louis Vuitton’s inaugural Cruise show this weekend.
The couture schedule, somehow, was packed this past week. Here are a few words on a few shows for the spring/summer 2014 haute couture week, including Vionnet, Chanel, Valentino and Armani.
Hedi Slimane’s Saint Laurent shows the trickiness of trickle up rather than trickle down, as well as being referential but not reverential. Karl Lagerfeld’s Chanel, by contrast, was a masterpiece of really, really great clothes. Simple.
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