12 posts tagged "Olivier Saillard"
It’s ready-to-wear time, but the fashion set will fete made-to-measure clothes tonight when Paris Haute Couture opens at the Hôtel de Ville. The Swarovski-sponsored exhibition showcases one hundred pieces from the Musée Galliera’s archives and a few loans from private collections. According to curator Olivier Saillard, the Galliera’s director, it tells a chronological story, starting with Charles Frederick Worth at the turn of the century (the show’s first dress was owned by the Comtesse Greffulhe, who inspired Marcel Proust’s Duchesse de Guermantes) and ending with one of the final pieces Cristóbal Balenciaga made before he shuttered his couture business in 1968.
Many of the dresses are juxtaposed with contemporary pieces; “For me, haute couture is not a discipline slave to the present,” Saillard explained. A Galliano-designed Dior, for example, is matched with Paul Poiret, while a 1920s Chanel is paired with a dress from Bouchra Jarrar’s latest couture collection. Saillard has affection for every piece in the show, but he’s partial to the 1930s. “The thirties is the most elegant period. There were a lot of women designers: Vionnet, Chanel, Schiaparelli—that means something,” he said. “They didn’t see back to the past, they see only the future.” As for couture’s future, Saillard says it’s not dead. “There are a lot of designers interested in haute couture: Raf Simons at Dior; Comme des Garçons is doing another kind of couture; Nicolas Ghesquière was, for me, a good designer who could make haute couture.”
Paris Haute Couture is free to the public from March 2 through July 6, at the Hôtel de Ville.
Christian Lacroix, Haider Ackermann, Martine Sitbon, Bruno Frisoni. They all gathered at the Palais de Tokyo last night for a one-of-a-kind, one-woman fashion show: The Impossible Wardrobe, conceived and curated by the Musée Galliera’s Olivier Saillard and starring none other than Tilda Swinton. The performance lasted nearly 40 minutes, or about four times the normal length of a fashion show. No one minded. On the contrary, the crowd gave the duo a standing ovation.
Wearing white gloves, a lab coat, and beige suede pumps, Swinton variously carried, clutched, and presented vintage clothes and accessories up and down the runway, making eye contact with the audience along the way and pausing in front of a mirror to measure up how she might look if she was allowed to put them on. “It’s not possible to wear the clothes in a museum,” Saillard said, by way of explaining the show’s concept and name. “If Tilda hadn’t accepted our proposal, we wouldn’t have done it.” Above Swinton, a news ticker spelled put the pieces’ provenance, and there were some truly special items here: a 1968 Paco Rabanne dress worn by Brigitte Bardot, Elsa Schiaparelli-designed gloves with built-in gold talons from 1936, an embroidered top that belonged to Isadora Duncan in the 1920s, even a tailcoat covered in gold bullion worn by Napoleon. The Oscar winner actually sniffed the collar on that one, as if to get a sense of his essence. “C’est sublime,” said Bouchra Jarrar afterward. “A new way to talk about the history of fashion. One must never forget history.” In the history of this season, this will rank as one of its most fabulous moments.
CLICK HERE for a slideshow of Swinton wearing some of the pieces from the Musée Galliera collection >
Mickey Drexler Is Everywhere At The J.Crew Headquarters, Three Finnish Designers Win Top Honors At The Hyères Festival, Fern Mallis Gets the Pratt Lifetime Achievement Award, And More…
At J.Crew’s office, out of sight isn’t out of mind. CEO Mickey Drexler installed a P.A. system to share thoughts, insights, and occasionally, Bruce Springsteen tracks with the entire staff—even when he’s not around. “”He…checks in from holiday,” Jenna Lyons tells the Observer. “He’s like: ‘Hey, I’m in Saint-Tropez; it’s gorgeous here! Anyway, I’m having lunch at Club 55 and you should see all these people wearing white! We should do more white, it’s summer, do we have enough white?’ It’s hilarious—I love it.” [Observer]
Finnish design trio Siiri Raasakka, Tiia Siren, and Elina Laitinen have been awarded the L’Oréal Professional Jury Grand Prix for the 27th Hyères Festival at the Villa Noailles. The young designers, chosen by a jury that included Yohji Yamamoto, Olivier Saillard, and more, will receive a €15,000 grant and a chance to show their collections during Spring 2013 Paris fashion week. [Paris Vogue]
Former CFDA executive director and senior vice president of IMG Fashion Fern Mallis has been honored with the Pratt Institute’s Fashion Industry Lifetime Achievement Award. The award was presented to the fashion veteran last week by Calvin Klein, who described her as a “referee” to designers. [WWD]
The U.K. may have found its next top model. Harper Beckham, daughter of Victoria and David, may be only 9 months old, but she’s already got her first offer in hand. Personalized baby gift company My1stYears.com has sent an open letter addressed to Harper herself requesting her modeling services. [Telegraph]
Behind any great designer stand his influences. Behind Cristóbal Balenciaga stands a collection of clothing spanning 300 years. The new exhibition Cristóbal Balenciaga, Collector of Fashion, opening today at Paris’ Musée Galliera, takes a look at the great creator through the lens of his collection.
“The items from Cristóbal Balenciaga may be seen as poetic inventory covering three centuries, from the seventeenth to the beginning of the twentieth, and basically two countries, Spain and France,” says Galliera director Olivier Saillard, who curated the show. “The oldest pieces are certainly a pair of French bead-embroidered shoes from 1730, the latest clothes the Spanish folkloric ornaments from the 1910′s. It is a mix of Parisian fashion and Spanish traditional garments or sometimes unusual objects like head ornaments for donkeys.” It’s as notable for what it doesn’t include as for what it does: in this grouping, no pieces from the famous couturiers who were Balenciaga’s contemporaries and predecessors, but “less important labels, nowadays forgotten though interesting to his eyes.”
The exhibit juxtaposes more than 70 costumes and pieces of clothing with Balenciaga haute couture from 1937 to 1968, some from the museum’s own collection, some on loan from Maison Balenciaga, which is supporting the show along with its parent company PPR. The comparison, says Saillard, is illuminating. “The themes in his collection are quite constitutive of his style,” the curator explains. “Black color, especially for lace and embroidery; the shapes of the nineteenth-century garments; historicism in general; the extremely vigorous creativity of Spanish folk art in terms of shapes and colors. [It is] a sort of miscellaneous jigsaw on which he built his modernity.”
“This exhibition may be an invitation to discover, or more precisely imagine, how a fashion designer might build a collection,” he goes on. “Perhaps [it's] evidence a couture collection doesn’t come out of nowhere, that the own culture and history of a creator is always present in his work.”
Cristóbal Balenciaga, Collector of Fashion opens today at Galliera’s temporary space Les Docks, 34 quai d’Austerlitz, Paris, 01-76-77-25-30.
Pictured: An exhibition display (top). Pieces from Balenciaga’s collection: Traditional Andalucian men’s ballet costume in wool with silk passementerie, circa 1850-1900; wool, silk, and tulle cape, circa 1895 (middle). Pieces from Balenciaga Haute Couture collections: Evening look from Spring 1947; Evening look from Fall 1951 (bottom).
Madame Grès: Couture at Work, curated by Olivier Saillard, the new director of Paris’ Musée Galliera, sheds light on one of the most enigmatic designers in twentieth-century fashion. The designer (born Germaine Krebs) originally wanted to be a sculptor, but her family had other ideas; she trained instead in haute couture. Described by French Vogue‘s editor Edmonde Charles-Roux as “a dictator disguised as a mouse,” Grès (left, in 1946) went on to revolutionize couture by refining her unique draping techniques over six decades—as she said, “like someone who didn’t know how.” The show, held at the Bourdelle museum (the former studio of the sculptor Antoine Bourdelle) while the Musée Galliera is under construction, makes a case for the timelessness of Grès’ designs. Style.com spoke with Saillard about Grès’ prescient minimalism, her timeless style, and her modern-day successors (Azzedine Alaïa and Rei Kawakubo among them).
Madame Grès: Couture at Work runs through July 24 at the Musée Bourdelle, 18 rue Antoine Bourdelle, Paris, 33-01-49-54-73-73.
Why did you decide to do your first Galliera exhibition on Madame Grès?
While doing part one of “The Ideal History of Contemporary Fashion,” covering the seventies and eighties at the [Musée des] Arts Décoratifs, I wanted to show Madame Grès’ work from the 1970′s. She was a very old woman by then, with 50 years’ experience, but her dresses from that period were astounding. Many designers’ work plunges a bit by the end of their career, but Grès had a nervous quality one associates with breakthroughs. The problem was we had very few pieces of hers in the collection, so I wasn’t able to do anything. When I arrived at Galliera I found that the museum has 250 pieces of Grès, so I said, let’s do it right away.
What interests you about Grès?
Her work is very classic and elegant, but it’s also a precursor. She is a bit minimal, before fashion used the word—a bit Belgian, a bit Japanese. For me, doing the show was like becoming immersed in a biography. I began looking at Guy Bourdin’s photos of Grès in the seventies for French Vogue, which heralded a comeback. That’s what I personally adored. This was fashion that wasn’t fashionable. Madame Grès is like an outlaw, she’s beyond fashion, or as the Americans say, she is a “designer’s designer.” Continue Reading “The Original Minimalist? A Paris Exhibition Reintroduces Couture Pioneer Madame Grès” »