“There are no free spirits anymore,” lamented Stéphane Rolland who dedicated his collection to the Twenties, as a post-war period of intense artistic expression. The venue: the entrance hall of Art Deco gem, the Théâtre des Champs-Elysées.

All this in reaction to the zombie effect social media is having on people today. “If you look at people on the street, they’re just following — following trends, bloggers, influencers,” he said backstage.

The opening white look, combining a sheer blouse with feathered cuffs, a long coat and large pants, accessorized with a turban and sculptural crystal ring from the couturier’s new jewelry collection, paid homage to dancer Isadora Duncan.

He experimented with volumes and references, putting a Sixties-style black ball gown skirt with a fluid, asymmetric black-and-white top based on a kimono, for instance, while ornate nods to Les Ballets Russes and orientalism included a long dress with a cut-out at the front coated in bronze and gold silicon, with applications of pure pink gold and embroidered with coral and other embellishments.

Also adding drama was a retro silk dress with sheer organza balloon sleeves and a crystal-embellished neckline in a striking brown, yellow and white print based on the paintings of Chinese architect Song Dong with whom Rolland is launching a project “for the world,” based on bioethical products.

More approachable, though, were the clean, Parisian-flavored pieces in unusual color combinations, like a peach dress with a high split and deep V-neck embellished with white coral, its fabric looping from the hem to the shoulder to reveal a contrasting yellow underside.

After a decade of highs and lows in the fragile haute couture ecosystem, there’s a growing sense of renewal for Rolland as one of the few remaining independents on the couture scene.

By  on January 22, 2019

“There are no free spirits anymore,” lamented Stéphane Rolland who dedicated his collection to the Twenties, as a post-war period of intense artistic expression. The venue: the entrance hall of Art Deco gem, the Théâtre des Champs-Elysées.

All this in reaction to the zombie effect social media is having on people today. “If you look at people on the street, they’re just following — following trends, bloggers, influencers,” he said backstage.

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