Australians in Paris: the designers from Down Under conquering haute couture week
Ralph & Russo haute couture autumn/winter ’19/’20. Image credit: GoRunway.com
Of all the fashion weeks in the world, Paris haute couture is the pinnacle, period — just ask any aspiring designer or fashion aficionado. Translating to high dressmaking or high fashion, the realm of haute couture is the luxurious reserve of the industry’s preeminent designers, and a breeding ground to exercise their creative flair (usually in layers of tulle, intricate beading and extravagant lace). Focused on craftsmanship, construction and the customised fit of the client, the limits of haute couture lie at the designer’s imagination, making it one of the most hotly anticipated events in the industry calendar.
The Chambre Syndicale de la Haute Couture, the official governing body of the French fashion industry, appoints a select number of designers each season to show in the official schedule — a great honour considering only so many design houses are eligible and client bases are so small (with a global estimate of 4,000). And, each year, hordes of stylists, editors and the upper echelons of the world — the clients — descend on the capital of couture, the city of Paris, to take in the special collections. To seize this opportunity and make their own entrée into fashion’s top tier, several designers elect to show their own couture wares in the same week, to coincide with the schedule and have the chance to expose their clothes to the same discerning audience.
This year, Australian-born exports and Australian-based designers alike made a splash in the city of lights, with Tamara Ralph and Michael Russo’s Ralph & Russo included in the official haute couture autumn/winter ‘19/’20 schedule. Alongside the London-based design duo, Toni Maticevski, Steven Khalil and Paul Vasileff of Paolo Sebastian also showed this week. Ahead of their respective shows and presentations, Vogue chatted to every designer to hear about their inspirations, their process and what it means to present their collections in Paris.
Ralph & Russo
What does it feel like to be showing at Paris haute couture fashion week?
Tamara Ralph: “Being invited to show on the official schedule of the Chambre Syndicale will always be one of our greatest and most cherished achievements — and one we feel really put us on the map.
Michael Russo: “We are proud to be the only luxury brand with its roots in London representing couture in Paris, and this has given us opportunity to align ourselves with some of the world’s most celebrated luxury brands.”
Can you tell us about the collection?
Ralph: “The collection depicts a 1930s soirée en plein air — a lively scene wrought with flora, fauna and the majestic opulence of the Art Deco era. A particular influence was the Art Deco artist and designer, Erté, whose illustrations and sculptures can be seen in several of our evening gowns — many of which feature sensual draping bestrewn with pearls, highlighting the female silhouette and emulating the love of exoticism and fantasy so prevalent during the era.
This season’s collection translates this pastiche of influences into a continued celebration of the modern female and her multi-faceted form, amid the joie de vivre of an era almost a century past.”
Can you tell us about the process of design, from sketch to execution?
Ralph: “Generally speaking, the lead time for our couture is three-six months. From a client perspective, [the process] is quite similar for our own collections — each creation starts with an initial meeting and the selection of a single sketch. During our first meeting, we will introduce the client to our collections, discuss their colour preferences and what they are looking for, take their measurements and talk them through a series of designs.
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Once a design sketch has been finalised, it will be sent to our atelier to be created into a calico toile by our skilled toilistes… All materials are selected and passed onto a team of couturiers and embroiders who delicately assemble each piece into the final creation. A final fitting is arranged with the client and any additional tweaks are made to assure that the gown is perfect and exactly as the client had imagined.”
Who is the Ralph & Russo woman?
Russo: “We’ve taken the Ralph & Russo woman out of that box of classic femininity and transitioned her forward into the modern day. She is not only elegant and wonderfully feminine, but she’s confident in herself and her style choices. She’s an international being and a leader in her field.”
Image credit: GoRunway.com
Ralph & Russo haute couture autumn/winter ’19/’20. Image credit: GoRunway.com
Steven Khalil
How does it feel to be showing in Paris?
“I love Paris — the city, its energy and culture are always a reference for me and my work. I believe Paris is significant as it seems to be at the centre of fashion in Europe. It is a very cosmopolitan city with such a rich history of supporting and nurturing the arts and artists in all forms.”
What was the inspiration behind this collection?
“I wanted to examine the anatomy of flowers in their different stages of bloom — they are so delicate but also have a strength and beauty that appeals to everyone. I was interested to see how these elements could work together.”
Can you tell us about the process of design, from sketch to execution?
“For this collection, the design process involved selecting a combination of different textures and embroidery techniques, leading to the development of the original and final fabrics chosen to be used. Each piece can take many hundreds of hours to make depending on the richness and intricacy of the fabric and embroidery.”
Is fashion an effective means of expression?
“Fashion can be a way to reflect and comment on society or where we are in a particular point in our history. I design couture pieces for anyone that feels a connection to the brand. If you identify with my designs or the brand you are more than welcome and included.”
Image credit: lmaxtree for Mephistopheles
Steven Khalil haute couture autumn/winter ’19/’20. Image credit: Simon Cecere
Paolo Sebastian
What was the inspiration behind this collection?
“Our new couture collection is entitled ‘East of the Sun and West of the Moon’, and is inspired by an old Scandinavian folktale. I find inspiration in the magic and enchantment of fairytales and folklore, so I really enjoyed researching and developing the artwork and embroideries for this collection.
[In general] I look to stories and fables. I find these ignite my imagination and really help me to create the collections. I love looking at traditional and historical costume, architecture, flora and fauna — it can really be anything. Music is also a great source of inspiration. In the past I’ve designed entire collections — from the garments to the shoes and even the runway set — while listening to a body of music.”
What is your favourite look in the collection?
“If I had to choose, I would say one of my favourites is a dress that features no less than 240 hand-sewn eyelets, which took over 40 hours just for the eyelets. We had the skirt pleated in Melbourne by one of the last pleating workshops in Australia. Another favourite is the cashmere coat, which has been traditionally hand-tailored by our master tailor and features celestial inspired map embroidery that illustrates the heroine’s journey.”
Can you tell us about the process of design, from sketch to execution?
“Each piece really begins with a story, memory or muse before being translated into a sketch. The sketch then acts as a guide for our pattern maker and art team. In couture, before the construction of the final garment begins in the selected fabric, we create what is called a toile. Once the pattern and toile are perfected and the embroidery artwork has been designed and finalised, our atelier flou begin construction. Depending on the silhouette, embroidery and detailing, a gown can be worked on for weeks. We have pieces that have required over 1000 hours to create! Couture is really a labour of love!”
What does it mean to be an Australian designer showing in Paris?
“It makes me so proud to be showing garments that we hand make in Australia on such an amazing stage. In the past, many of our guests in Paris have commented that they didn’t realise this kind of work could be done in Australia… I think as a country, we have always been favoured internationally for our designs and style because we have a unique perspective on what fashion is. Australia is such a diverse cultural melting pot; we are exposed to so many influences that we can blend and make our own and I think to an international market that’s fascinating.”
Image credit: Simon Cecere
Paolo Sebastian haute couture autumn/winter ’19/’20. Image credit: Simon Cecere
Toni Maticevski
What was the inspiration behind this collection?
“The inspiration primarily came from the idea of metamorphosis, and with that the notion of reinvention and becoming something that one always wishes to be. So naturally I was drawn to the butterfly and moth as they seem to have this idea. There are moments when things feel like they bloom and blossom and where there is a sense of flourish, whether in colours or flutters.
[In general] I never have a definite point of inspiration; it’s always led by the feeling I wish to pursue. Then, that defines the colours and textures and shapes I draw upon in my imagination, and becomes a reference point for memory.”
Can you tell us about the process of design, from sketch to execution?
“Some pieces can take a week to create. The amount of fabric and intricacy of cut and detail can be overwhelming, but then I like to challenge that by creating something as simple as a square panel that has tucks just placed in the right places that can take minutes to put together. It comes down to the finish and the line. Sometimes it becomes what it needs to when draped on the body and sometimes it’s imagined in my head and translated on paper, but always created on the body; nothing is flat.”
Is fashion a powerful tool to tell stories, and why?
“I think fashion is so powerful to say so many things, not just about body or race or empowerment or politics… There are definite moments in history where fashion has been used as a voice for things like women’s rights, terrorism, and different types of beauty. I just hope that it can also be used for what it is intended: to showcase creativity and drive ideas and champion true artists for what they bring to the development of fashion.”
How does it feel to be showing in Paris?
“For me, the purpose is to showcase both the collections that are available to buy and flex my creative ideas. It really is for my clients to experience the brand in a different way. Many of them have not been to one of my shows in Australia and I think in this climate, it’s about doing things that are right for my brand and not catering to outdated modes. Paris is always inspiring, and maybe there is a bit of that spirit entwined in me and everything I do.”
Image credit: India Hartford Davis
Toni Maticevski haute couture resort 2020. Image credit: India Hartford Davis