In the mood of Christophe Josse: ‘Haute couture is a laboratory of ideas on which time has no hold’
Relaxnews: Which is the most representative garment in this fall/winter wardrobe?
Christophe Josse: A long, snugly fitting seamed coat in chalky felt wool with gold embroidery. This slender, sheathed shape anchored in the contemporary world combines the dynamism and melancholy poetry of the Slavic spirit.
R: Can you think of any celebrity, living or deceased, who could wear every item in this fall/winter collection?
CJ: Silvana Mangano, whose unique beauty and stately posture embody this collection the best.
R: What would you do if you could make over Cara Delevingne?
CJ: I would invite her to come to our showrooms and meet our head of haute couture!
R: Is there a certain film, image or sound that would mesh best with your new collection?
CJ: A James Ivory film, an early 20th-century photo of a Central European peasant woman and a sound by Philip Glass.
R: How do you think the fashion and luxury industry will evolve over the years to come?
CJ: Luxury remains one of the last sectors in which French design and savoir-faire excel, and we need to protect and make the most of that “cultural exception” at all cost. I also find particularly interesting the cultural differences in luxury consumption and approach to luxury between, say, India and China or Europe and the Middle East. In this globalized world, haute couture remains a laboratory of ideas on which time has no hold, far removed from commercial contingencies and financial parameters.
R: We loved “The Great Gatsby.” If you could design the costumes for the film adaptation of a well-known story, which one would you pick?
CJ: “Tess of the d’Urbervilles” by Thomas Hardy. I like the idea of reconceiving a world that has disappeared. Tightly-corseted Victorian-era England was ruled by relentless moral codes. This cruel and exciting novel makes a fashion designer think about costumes from a fascinating sociological angle.
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