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Haute Couture
are two words that make some dream and that scare others.
Not that phobia that can be had of closed spaces or any bug that crosses the road, but a fear of reports and difficult to verbalize, which can sometimes lead to ridicule and disdain.
Of those born of misunderstanding.
With the Paris Haute Couture shows and trends still bubbling on the retinas,
the question may arise as to what all this display of glittering fabrics and stunning jewelery is for
; what is the use of devoting so many resources to the creation of dresses that will not be in stores later. It is logical that, especially for those who are not close to the fashion industry, the question reverberates.
And no, there is no single answer for it, but there are several reflections that can be made about it.
The first thing that can be argued (anyone would do it, you don't have to be a connoisseur or a scholar to do so) is that Haute Couture
is an image and positioning tool, an (almost) perfect 'marketinian' measure.
More effective than a typical advertising campaign, even, because it
helps to generate content and presence organically
: it is done by those who attend and also those who watch the show on a delayed basis and through a screen. To such an extent comes the dreaminess of these creations. How can we not talk about those jewel-dresses by Schiaparelli or the delicacy of Dior's pieces? And Carolina on horseback before Virginie Viard presented her collection for Chanel?
There are still no numbers that speak of the impact of this edition of 'haute couture', but others are well known that may surprise, perhaps not:
there are just over 2,000 seamstresses who are part of the cast of
'les petite mains'
who are authorized to work within Haute Couture, whose
dresses do not have a fixed price,
but rather variable according to materials and time spent (the Reuters agency published that it would range
between 9,000 euros and one million
) to make them. Because yes, despite the fact that they are not within the reach of most, these pieces can end up in real cabinets, such as those of, for example,
Rania from Jordan or Wendy Yu,
the daughter of the most important manufacturer of wooden doors in China.
Yu would come to exemplify a new type of Haute Couture clientele that lowers a traditionally high average age:
millennials
. They are far from being considered extremely young (hello, generation Z), but they do not respond to the canonical public. Although it was in 2018 when Bain & Company launched its study in which they claimed that the purchasing power of millennials would account
for "45% of the global luxury goods market in 2025"
, the data has not experienced so many ups and downs, especially considering Keep in mind that the system in which the rich remain rich even in times of crisis always works.
In this sense, and although it is difficult to compete with the scope and volume that beauty lines represent for the big luxury brands
, Haute Couture also means a source of income that should not be neglected.
Because, in addition, it is one of those that make you feel good: it is qualitative
(at least, in most cases).
The Haute Couture clientele invests and allows a machinery that involves fabric producers, seamstresses and all kinds of people related to this trade to continue well oiled.
A fact in which the role of the
Haute Couture Federation
.
The mission of this organization is
"to unite fashion brands that encourage creation and international development, promoting French fashion culture, where Haute Couture and creation have a great impact by combining traditional knowledge and contemporary technology in each moment"
, can be read on the official website.
"It helps to reinforce Paris in its role as the world capital of fashion."
The title is old, and they continue to carry it with pride.
Perhaps therein lies the key: in a strong belief that is based on government support for an industry that not only moves large amounts of money, but also performs public relations work that is difficult to achieve in other ways.
With the dream that this unity will be achieved on home soil and fashion will be considered once and for all a cultural asset that must be promoted (but really), it is time to move on to another point that speaks of the usefulness of High Sewing
: the aesthetic projection
.
The one from the dream.
The one that really flirts with the limits of utility.
The consideration of the role of beauty in the day to day and in the personal growth of each one is, that, something of each one
; a consideration that must be made at the individual level. Not everyone has (nor should have) the same sensitivity, the same tastes, the same references. Respect, yes; absolute homogeneity, no. So these lines will appeal directly to those who are capable of being moved by exhibitions in museums, concerts (whatever they are) or with a good paragraph in black on white.
Haute Couture can be an exercise in visual evasion, but also a mental one
.
It can
nourish the mind and help us forget,
for a few seconds, what is happening in the outside world, like when we sit down to watch the latest Netflix documentary or a Eurovision-style performance that is being commented on with fervor.
Also
like when you go to the movies or attend a red carpet with pleasure.
Haute Couture also entertains, it opens the door to worlds as delicate as that of a universe imagined in black, white and gold or to a futuristic and dystopian Rome.
Haute Couture
allows us a momentary and necessary suspension of reality,
uniting through an invisible thread those who vibrate with the whisper of a cape leaving in any salon in Paris.
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