ALEXIS MABILLE - DAZZLING COUTURE
What is the spirit of this collection?
The collection is being presented at the Lido, which I redecorated last year, to create a 360-degree experience, to be nestled in a world that combines Haute Couture and interior design. The idea is to set up the show in a large salon, using water, light and sound effects to maximise the scenic effect. The models will parade like guests at a party. Hence the name “Champagne,” reflecting the idea of a sparkling, mischievous presence, but one that's also self-assured. It may not be a festive mood at the moment, but the party spirit is what people need most. It's a burst of positivity. The important thing is to bring out the fun in everyone and liven things up. Fashion is all about creating light. And that's part of my DNA. The palette is there for customers who need to add a little theatricality through Haute Couture.
How did you conceive it?
It's a state of mind, a typology of attitudes: there are around 40 passages, with strong characters. Which explains the idea of the champagne bubble. I did a lot of work with shine, sparkle, matte metallics, lamé fabrics, micro sequins that give the illusion of a plain lacquer, embroidery with mosaic effects... The palette is fairly winter-like, with whites that rise in tone towards golds, platinum silvers, pinkish golds, golden browns, bronzes and more. The collection is graphic, but also dedicated to the night and the party. With long legs, slits, skirt movement, volumes and beading as if they were jewels. Dresses are transformed into necklaces.
What technical challenges have you experienced?
Each collection has its own requirements and complications. The lurex threads tend to pull, so you have to change the needles and only use new, very sharp needles, because they slip between the threads; sometimes, with the sequins, you have to sew them back on by hand, so you cut all the sequins off the seams and open and sew everything back on by hand. The idea is to achieve an invisible effect and give the sensation that the dress is completely moulded around the body. This explains the strip of horsehair used to roll up a collar or hem. Everything that seems so simple is the result of complex work in the atelier, notably when it comes to volumes.
What drives you to keep pursuing this career?
I love drawing. At the beginning, I'm quite isolated, and then the collection takes shape in the hands of the artisans. Each time, the key is to transcribe the research, to torment the fabric to achieve our goals. Plus, Haute Couture allows you to create a very special bond with your clients. There's a whole new dynamic. Since Covid, eveningwear has come back to the fore. It's as if this great physical void has demonstrated to people that it's important to look their best. Whether Californian, Chinese or from the Middle East, Haute Couture clients appreciate the exclusivity, and enjoy a week of fashion, art and culture. Haute Couture week has become a celebration once again. My clients also include eccentric, playful men. It's as if they're scripting themselves: they're asserting themselves as curators, their wardrobe is referenced in books, they're defining themselves more and more through an almost museum-like approach, respecting the clothes they buy. The more they meet up at dinners, launches and fashion shows, the more they identify with each other. We act as their concierge, pointing out new places and finding them the finest venues. The essential point is to offer them a whole experience.
By Laurence Benaïm.