Seven deities, heralds of a manifesto of creativity and craftsmanship.
Welcome to the pantheon of the first Hautes Sculptures à Porter Xavier Brisoux has developed. This is the coming together of the work, inspirations, and influences of a lifetime.
Then each heroine has her own singularity with her Haute Sculpture à Porter, with a definition of her specificity through the choice of colour, shapes and volumes. The yarns used in the collection are mainly made of cotton, a fibre that is both soft to wear but strong enough to support its own weight.
Many of the silhouettes are incarnated in their own single colours defining their identity, ranging from neutral colours to autumnal hues to metallic lurex blue.
Craftmanship is at the centre of the collection.
In the knitwear first, as each silhouette is a challenge in its realisation. The technical boundaries are pushed as many of the Hautes Sculptures à Porter are knitted in one single panel. Considering the volume with and without the body, the piece can transcend to become a sculpture, an abstract object, a relic that an archaeologist would find while time-traveling to the future.
Then Brisoux has also translated his knitwear into a “flou” technique with the help of the Atelier Paloma.
By transposing the pleating effect to a tube of fabric in which a horsehair tubular is inserted, the aesthetics of the Hautes Sculptures à Porter become more evanescent in the silhouette “Métiers d’Art”. The very technical organza from Jakob Schlaepfer looks like liquid and together with the undefinable sea green colour, they finish giving the unfathomable aspect of the dress.
To complete the looks shoes, gloves and handbags were specifically made for the collection. Henry Aschkoyan has developed the shoes, and Maison Fabre has fabricated the gloves.
Photographs © Mathieu Drouet Photographs © Mathieu Drouet
