Stephane Rolland, the architect of self-assured Amazonian femininity, undeniably failed to disappoint yesterday in Paris by gifting the dreamy couture universe with the type of stupendous grandiose spectacles that we have come to expect from the French native, who’s career sky-rocketed after joining Balenciaga at the age of 20.
Admittedly and rather fittingly, Rolland has never been the authority for those of a shy and retiring disposition, epitomised by the media hysteria that ensued once Kim Kardashian, on a brief sojourn to soak up some couture, and Latin spitfire actress Paz Vega arrived at the venue.
This, however, is quite truly one of Rolland’s fabulous strengths, so onward and upward it was, with miraculous animated swirls of lush canary yellow, rendering the Rolland woman a rare bird of paradise, and dazzling mirages of radical takes on the classic peplum form featuring whispers of glowing aureolin Swarovski crystals.
While Rolland opted for safety in adhering to the DNA of his house, one gets the feeling that he has ramped up the charisma this season, as simple forms, softly infused with a much needed dose of dramatique, became subjected to not only a loud new choice of fresh hues, but elemental avant-garde tropes, as specific parts of the body became either lionized or fragmented and even rigorously concealed, thus, ever so captivatingly fetishised by the energetic cuts of his forms.
The finale of the show revealed an indubitable deity, swathed in the splendour of the traditionally outré Rolland wedding gown, this year, truly immortalised in organza as a majestic Chinese fighting fish, a thrilling citrus burst integrating the key palette of blazing hues and stormy shades of midnight. Though this season’s offerings may have felt somewhat comfortable, as always – it works, largely due to an onpoint approach to the theme of the organic tryst with new age technology, from the definitive couture perspective of Rolland.
by Liam Feltham