The couturier presented in a theater — Paris’ Théâtre National de l’Opéra Comique — but tempered the drama on some of the looks, to his favor.
Sculptural flourishes were applied to a range of easier silhouettes, ranging from the opening tuxedo with a signature white orchid-like form sprouting from the shoulder, creating a wing effect, to a look a few exits down that layered a white top flowing into a train with glittery drawstring silver pants tacked with a 3-D floral embellishment.
The wing theme resurfaced on a long white, one-sleeved column dress that stood out for its simplicity. Ditto for the floor-grazing tuxedo coat with an asymmetric satin ruffle.
His love of sweeping fabric-rich looks was intact, though, like the cascading capes and a voluminous skirt with twisting pleats strewn with silver strands that were impressive but not very car friendly. Another white gown had its skirt pin-tucked to one side to showcase shorts, Stéphane Rolland’s take on sporty-chic dressing.
Glitter and shine were a leitmotif, climaxing in a series of voluminous ivory satin gowns embellished with mirrors — living sculptures with a Sixties feel that, while technically impressive, were a little overwhelming. Even from the back row.
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