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Suzy Menkes Международный редактор VOGUE

Atelier Versace: The Sport of Exposure

25 января 2016

A few hours before the Atelier Versace show, I went for the third time to see the wardrobe treasures of the Countess Greffulhe.

Donatella and Suzy backstage at the Atelier Versace show in ParisPicture credit: @SuzyMenkesVogue

I am enchanted by this exhibition, La Mode Retrouvée, at the Palais Galliera in Paris, with fuzzy grey film capturing the charmed life of a grand lady whom Marcel Proust worshipped and couturiers adored.

I have looked at the delicate workmanship of dresses laid flat in glass cases and studied the early photographs that bring the art loving, über-wealthy aristocrat from history to life.

The Countess of Greffulhe in a ball gown, c. 1887, photographed by Otto CREDIT © Otto/Galliera/Roger-Viollet 
The Countess Greffulhe wearing the “Robe aux lys” by Worth, 1896, photographed by Paul Nadar CREDIT © Nadar/Galliera/Roger-Viollet 
An ostrich feather folding fan, 1878, with silver, diamond, ruby and emerald decorationCREDIT © Julien Vidal/Galliera/Roger-Viollet


A day gown by Maison Soinard, c.1887, in silk satin with velvet appliqué CREDIT © Julien Vidal/Galliera/Roger-Viollet 

A garden-party gown by Charles Frederick Worth, 1894, in silk-crêpe mousse line and silk taffeta embossed with orchids CREDIT © Julien Vidal/Galliera/Roger-Viollet  
The “Robe aux lys” evening gown by Worth, c. 1896, in black velvet with silk embroidery and pearl and sequin appliqué CREDIT © L. Degrâces et Ph. Joffre/Galliera/Roger-Viollet

And I have stood and stared at this figure of eternal elegance, photographed in a Worth velvet gown, embroidered with metallic and pearl lilies that puddle into a train behind her feet.

A tea gown by Maison Worth, c. 1897, in satin, flock velvet and Valencienne lace CREDIT © Stephane Piera/Galliera/Roger-Viollet

It is not exactly Donatella Versace’s fault that fashion historian Olivier Saillard’s delicately and deftly curated exhibition won me over far more than her Atelier show.

Backstage, Donatella told me her inspirations were strong women and mountain sport, which translated as a model in a snowy-white pant suit with neon straps, mountaineering clips and enough bare flesh to catch your death on the snowy Alps.

This sporting life was swiftly swapped for those familiar Versace dresses, split down one side for a bare leg to stride, or with short hemlines as brief dresses with inserts of mesh, as if for a sexed-up mermaid.

As front row celebrity, Rita Ora’s red mesh dress revealed her tattooed flesh.

Picture credit: Indigital 
Picture credit: Indigital


Picture credit: Indigital

Evening gown by Beauchez, c. 1900, in silk velvet, lace, silk mousseline and tulle, with pearl and sequin embroidery CREDIT © Julien Vidal/Galliera/Roger-Viollet 

The “Byzantine” dress by Maison Worth, worn by the Countess to her daughter’s wedding in 1904, made from taffeta lame, silk and gold thread, silk tulle and sequins CREDIT © L. Degrâces et Ph. Joffre/Galliera/Roger-Viollet 
A pair of velvet, kidskin and leather shoes by Hellstern & Sons, from 1900-1910 CREDIT Galliera/Roger-Viollet
A Japanese-style velvet and silk evening coat by Babani, c. 1920 CREDIT © R. Briant and P. Ladet/Galliera/Roger-Viollet

Last couture season, fresh air seemed to have blown through this Atelier collection. But for summer 2016 it was back to a world of eternal “events”, where everything from those crystal ropes to the slits and cut-outs called for attention. Even checkerboard patterns, feeding the sport theme, were mini length with the bust area cut away for flashes of flesh.

The soundtrack was about a body empowered, suggesting a woman in control. But the models emanated “Oscars!” from every pore.

The show was all “celeb wear”, which really is a 21st-century clothing category, along with “selfie shoulders”, to look good in mobile phone head shots. It would be a fashion crime if these Versace gowns did not appear on the red carpet at the Academy Awards.

A Chinese-inspired silver-lamé evening coat embroidered with pearls, bugle beads and sequins CREDIT © R. Briant and L. Degrâces/Galliera/Roger-Viollet 

For evening wear, a gold lamé and lace bolero is worn over a dress made with metallic and silk lace, c. 1925 CREDIT © Julien Vidal/Galliera/Roger-Viollet 

Evening dress and bolero by Nina Ricci in serge and silk mousseline with an ostrich-feather trim, c. 1937 CREDIT © Julien Vidal/Galliera/Roger-Viollet 

A silk evening dress by Jeanne Lanvin for summer 1937 in tarlatan (thin muslin) and plaited tulle CREDIT © P. Joffre and C. Pignol/Galliera/Roger-Viollet 
Contemporary fashion illustrator Aurore de la Morinerie’s drawing of a Maison Worth “robe aux lys” evening gown from c. 1896 CREDIT © Aurore de la Morinerie

How can I even suggest a link between the Countess Greffulhe’s eternal elegance, rooted in 19th-century haute society, and today’s show-off couture? Because the two separate worlds and the yawning gulf between them – in style, taste, and workmanship – explains how difficult it is to identify or even to believe in haute couture as a 21st-century way of life.


“La Mode Retrouvée: Les robes trésors de la comtesse Greffulhe”, curated by Olivier Saillard, is at the Palais Galliera, Paris until 20th March.

Contemporary fashion illustrator Aurore de la Morinerie’s drawing of a Maison Worth tea gown from c. 1897CREDIT © Aurore de la Morinerie
Contemporary fashion illustrator Aurore de la Morinerie’s drawing of a Maison Worth tea gown from c. 1897 CREDIT © Aurore de la Morinerie 


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