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By Arden Fanning Andrews
“Haute couture is ancient and romantic, and even some of my collections play with those qualities,” Simone Rocha told Vogue. His first haute couture collection for Jean Paul Gaultier (held at the designer’s headquarters in Paris, formerly a ribbon factory) brings elements of modernity and truth to the commission to “move it forward today”. And on today’s runway, the recognizable codes of her paintings were alive and well, from the crystal ornaments that makeup artist Thomas de Kluyver glued to the eyebrows, eyelids and lips (reminiscent of the Irish folklore-inspired looks she created for Rocha) to the pink ribbons Rocha wore tied in her own hair for her final stroll.
The exhibit opened with a set of sheer studs encrusted with jewels designed by artist Ama Quashie, as well as floating knot earrings attached to fine strands of angel hair. The next look was complemented by a pair that delivered the optical illusion of perfectly fastened bows opposite. to the soft waves and curvatures created by hairdresser Holli Smith on the models. De Kluyver’s faceted makeup looks have undeniably controlled to score, but not dominate, pieces covered with fabrics ranging from structured woven silks to fine, illusory tulle.
Tess McMillan and Amelia Gray’s lips were adorned with black jewelry, and Alex Consani and Kristen Owen sported crystallized bridal looks. The airy, heart-filled effect, like Rocha’s attitude she shared with Vogue’s Liam Freeman moments before the presentation: “Haute couture is perceived as untouchable, but it’s all about the soul – that’s what makes it special. »
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