“I believe haute couture can extend beyond clothing to encompass bags as a fully realized couture expression as long as they are conceived with the same prominence, intention, and technical ambition. We explored a variety of shapes, materials, and crafts for this collection,” said Anderson.
The accessories take over the first floor. First, there are the bags, in new shapes as well as classic models like the Lady Dior, which come with unlimited customisation options. There are also 57 pièces uniques in 18th-century fabrics sourced by Anderson. Then there is the jewelry made of meteorites and fossils, charms inspired by each dress in the collection, and shoes made of yarn, silk cyclamen petals, and the same upcycled 18th-century fabrics as some of the bags.
The few areas of the wall that don’t carry an extraordinary piece of fashion carry paintings, also chosen by the designer. In fact, everything in the space has been chosen by him — from the color of the walls, to the furniture, the antique carpets, and even the glass enclosures.
In the two hours post-show, a team that included Anderson carried all the couture looks from the show venue to the villa and set them up just in time for the cocktail party that followed. At the party, the creative director mingled and chatted with the clients, who, as we know, appreciate nothing more than face time with the designer as a means of connecting to the brand.
“Our clients, regardless of their generation, are very attached to our codes, so they are all the more appreciative of Jonathan’s talent for elevating and modernizing them, while paying tribute to them and showcasing the savoir-faire that brought them to life. Jonathan has immense respect for our ateliers, which he knows, better than anyone, are the best in the world. He is acutely aware that haute couture can only continue to exist if it is actually created and if its savoir-faire is passed on,” commented Arnault.
Anderson’s couture takes over the ground and first floors, while the second floor is reserved for Victoire de Castellane’s haute joaillerie and horlogerie creations. Sketches of jewellery from older collections line the walls of the corridors leading to tiny rooms that contain millions of dollars in gemstones and diamonds, set in bracelets, tiaras, rings, necklaces, and watches. Castellane’s latest collection for Dior is one of 57 unique pieces called Belle Dior. A personal favorite was a necklace, ring, and earrings set featuring moons and stars made of yellow diamonds and black opal, inspired by the founder’s own fascination with the divinatory arts.
Inside the rooms, all curtains are drawn as part of a security protocol, while after every other fold of the maze-like floor, you’ll find private client suites, where the VICs can actually do their shopping in peace. The couture client suites are on the third floor and, as you’d expect, significantly larger. I wasn’t able to sneak a peek because, as I was warned, it was all booked.
On my way out, I’m treated to two bags of haute chocolaterie from the glasshouse patisserie. It’s an interesting time for fashion — the macroeconomic challenges are plenty, and last year’s creative reset was the industry’s big bet at dealing with them. In this vein, it’s encouraging to see newly appointed creative directors like Anderson reimagine and stretch luxury’s borders. It’s also quite fun.