Where $100,000 dresses are the norm: Inside the world of haute couture
A WEEK attending the haute couture shows in Paris requires me to suspend reality to enter a world in which ordering a $100,000 dress is normal.
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A WEEK attending the haute couture shows in Paris requires me to suspend reality to enter a world in which ordering a $100,000 dress is normal.
Haute couture is for the clients, so there are no retailer buyers, just extremely wealthy individuals who collect fashion like art, and selected press.
The pace is slower than ready to wear, there are less shows to see and in between them there are displays of extraordinary one off pieces of fine jewellery (from Bulgari, Dior, Louis Vuitton and Chanel this season), appointments to feel and see the couture up close and hear about the new by-hand techniques which made them, along with parties and dinners.
To show on the Paris schedule requires being approved by the French fashion gods at the Federation Francaise de la Couture, who govern whether the term “haute couture” can be used (much like the word Champagne) and decide if a designer can join the official line up.
One off pieces are shown at couture, which are made to measure upon a client request. A number of follow up appointments or fittings between the piece being ordered and delivered are expected.
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These appointments are at the house in Paris (so you will need to visit 3-4 times in a few months to be fit). Ordering haute couture is a serious commitment. These clients don’t want to turn up at a party and see someone in their outfit and when you purchase haute couture that is extremely unlikely.
There are Australian haute couture clients and their numbers are growing.
There are also celebrities everywhere. Many of the houses use haute couture largely as a marketing exercise.
Viktor & Rolf are a good case in point because this week they showed an extraordinary collection of wearable art.
The models walked out draped and wrapped in framed paintings, some of which were removed on stage by the designers to reveal a simple denim smock underneath.
But it did serve as the precursor to that evening’s party to celebrate 10 years since the launch of the Viktor & Rolf Flowerbomb fragrance at which Tori Amos performed and a tonne of celebrities attended.
It’s one of the most successful fragrance launches in modern history, so there was plenty for the designers and their partners the L’Oreal group to celebrate.
The L’Oreal bosses were also celebrating 80 years of Lancome and the night before had hosted a lavish party. I chatted briefly with Naomi Watts at Armani Prive. Chanel had Kirsten Stewart playing baccarat next to Julianne Moore. It was a challenge to focus on the couture rather than their sparkly jewels.
Now I’m writing this from Portofino where Dolce & Gabbana are showing their Alta Moda (their couture) show. You won’t see it on Vogue’s social media because we have been asked not to post anything to protect the clients’ privacy. It’s a four day festival and the finale is a gold party, or “let there be ORO!” (Italian for gold) as the invitation reads.
I almost had a heart attack when I read that on the plane but I arrived in my room to find a Dolce & Gabbana gold dress which fits like a glove and gold shoes to match.
I think I have found my real life fairy godparents.
Originally published as Where $100,000 dresses are the norm: Inside the world of haute couture
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