Couture - Haute & Atas

The hype for WFW 2011 has certainly died down but the impact that some of the designers have left sure has not. I think it was absolute brilliance for the Haute Couture Week to be tied in with Voilah, the French Festival. Not only did us Singaporeans get to savour the beauty and genius of French grand couturiers, we also managed to catch a glimpse inside the fashion industry through the fashion films presented by the Alliance Francaise Singapore at their in-house theatre and at Sinema. Together, they provided an overview of the French luxury fashion industry that prior to this, I would not have been able to comprehend and hence appreciate. 

Going back to day 4 of WFW, I remember Alexis Mabille's show as one of my favourites. Not only was his show breathtaking, he had a vision for haute couture as an industry and as a trade that got me thinking. For one, Mabille believes that haute couture is not a dying industry and hopes to present it as something that is fresh and modern such that it would appeal to more people. 

To get haute couture to the market is not easy. For most people, fashion is just what they wear everyday. A haute couture showcase then is probably a more 'atas' show than the usual, boring fashion shows. That does have some truth in it. After all, haute couture as the name suggests means high dressmaking. To most, it's probably more atas fashion. To others like Fal and I who study dressmaking and can give our two cents worth about tailoring, haute couture is dressmaking at its absolute finest. It is the artisan concept made tangible and real through the use of unrivalled construction techniques, manipulation of fabrics, textures and shapes and attention to the most minute details, some of which would have never even crossed my mind.

The artisan concept that is the foundation of haute couture is definitely not one for all to appreciate. There are just so many people out there who will not understand the rarity of such creativity and the intricacy of such construction. Neither will they understand the complex design process in which the designers can spend weeks and months poring over in order to produce a physical manifestation of the visual and architectural concepts (relating to the way the textiles and construction come together of course) conjured up in their heads. Sometimes it isn't just the pieces coming down the runway that get me excited, it's the audience. To hear the audible gasp among the audience, that short intake of breath that is hardly audible individually but so powerful as a collective, is proof that there are people who see what I am seeing and can appreciate what I am utterly impressed by. 

Not too long ago, I had a friend joke about the fashion channels on cable. While channel surfing, he (of course it's a he) happened to see stick-thin models walking down the runway. In 30 minutes, when he chanced across the channel again, it was the same stick thin girls strutting down the runway. No difference. I get where he's coming from of course because fashion shows on tv, not exactly entertainment. More like a channel filler. Haute couture is definitely something to be absorbed in the flesh. The drama takes place in tandem with the music and the setting in an atmosphere of anticipation and unspoken excitement. This was exactly what it was like before Alexis Mabille. Several people whom Fal and I had spoken to outside at the cocktail reception were psyched for his show, especially after the roundtable symposium that had gone on earlier that day with the rest of the designers. With a history of nine years once spent under the master of drama, John Galliano, at Dior, Alexis Mabille definitely brought the drama on with fierce animal accents and lots of volume.

Finale dress

Unfortunately, Fal and I were stupidly presumptuous. We assumed the show would start at least 15 minutes late because Dominique Sirop started exceptionally late. Hence, we left the venue to catwalk (more like balance on our skyscraper heels) to a coffee joint for a caffeine fix at the other end of MBS. When we returned, the show had STARTED. Panicking, flustered, frantic (feel free to insert all other synonyms), we rushed in and managed to catch half of the show. Oh yeah, we were close to killing ourselves (haha). 

Couture pieces demand and deserve so much more than a half-hearted sense of 'wow, that's nice' and only people who can understand the work and value behind couture will be able to give couture just what it needs. To each his own, I cannot expect everyone to afford couture the same amount of respect and admiration as I (or Fal) do. As for Alexis Mabille's vision, I do hope haute couture manages to live through an evolution that doesn't diminish the mystique and allure that surrounds haute couture as much as it defines this niche and artisan industry.

♥,
Fir

J'adore J'Aton

I was watching Australia's Next Top Model on Starworld and that's where I got to really see what the hype was behind the couture label, J'Aton. I was blown away by the details on their gowns featured during the programme.

"We dress women the way men want to see women dressed"

Founders and designers Jacob Luppino and Anthony Pittorino launched the label in 1995 and they started small, making just enough to buy materials they needed like sewing machines and other equipment. Slowly, the label began to gain a reputation for attention to detail and skilled craftsmanship and today, J'Aton has become synonymous with gorgeous bespoke evening and bridal wear. Both designers come from Italian families and their uncanny ability to understand each other has allowed this dynamic partnership to bear fruit.

Their contemporary couture, gorgeous draping and breathtaking detailing has won them awards such as the 2009 Prix de Marie Claire Awards for Best Eveningwear Designers and several other Australian Gown of the Year acknowledgements. A favourite among Australia's society and the elite, J'Aton's celebrity clients include Dita von Teese, Charlize Theron, Lily Cole, Delta Goodrem, Kylie and Danni Minogue and Rebecca Twigley.

Andrej Pejic for J'Aton Couture

J'Aton opened first in Ascot Vale in Melbourne then moved to Prahran five years later so the designers could expand their client base. Being so incredibly successful, the label has made plans to move to New York but the much anticipate move was, sadly, delayed because of the losses incurred as a result of a fire at the label's showroom at Greville Street. Enter the J'Aton bridal salon and you'll find it unique from other ateliers. There is no showroom overflowing with sample gowns, instead customers can expect a small selection of intricate couture gowns that represent the feel, style, craftsmanship and fit that J'Aton has become known for. 

Inspired by classic designers like Christian Dior and Charles James. They like to keep femininity in their gowns whilst also incorporating elements that their clients want. The advantage then, is that the designers are involved right down to the last detail. The designers' hands-on approach has led to their popularity among their elite clientele, resulting in word-of-mouth recommendations and repeat clients.

It comes as no surprise then, that the designers work through appointments only for both consultations and fittings. Luppino and Pittorino meet with each prospective client to see if they get along before another appointment is set up for sketching and discussion of other details. Every client speaks directly with either designer and each gown is carefully sewn in small teams. Each gown is therefore a collaboration of both the designers' aesthetic and the client's vision. Most gowns take about six months to create and brides-to-be are asked to commit to at least four fittings. The duo are open to alternatives if for example, the bride hates lace and beading. However, both designers feel that the clients' minds can be changed especially since "its usually because of how they've seen other people design with it" that causes a definite adverse reaction to certain design elements. 

J'Aton is located at 185 Greville Street, Prahran.

♥,
Fir