Fall Winter 2018/2019
July 2018 runway show
Constantly in search of a style to allow ladies to best express their emotions, Julien Fournié signs his “First Crime” Haute Couture collection in 33 elegantly strict looks inspired by the suspense masters’ muses (Agatha Christie, Alfred Hitchcock, Paul Verhoeven).
But how would a “profiler” analyze the motives of this “serial killer” of a couturier who hits with his aesthetics ? First, he would notice the sculptural drapings, discover the hidden cuts, note the scalpel adjusted busts. He would investigate the secrets in the sleeves, examine the waist straps, the “basques” that accompany each movement. He would record the vertiginous asymmetries created by bias inlays and drapings. A sheath slashed by a cut on the side of the chest would intrigue him.
Julien Fournié’s favorite weapon remains the cut. It structures the garment and ensures modesty and pace. Precious leathers (pecari for size, reindeer for touch and nobility) can compose dresses as well as trousers. The French couturier’s customers dare it all l: for example, the panther total look printed on leather in a dress, a handbag, gloves and t-strap heels.
In a reconstructed pose, Julien Fournié’s fans are facing their own issues with weapons that belong only to them. By leading them to sublimate their impulses in a ruby, duck-blue, or fawn tones palette, the designer leads them into a purity of mohair, silk drape and chiffon which leaves no room for commonness or complacency.
Like the incredible feathered black dress which opens the show, each piece pays tribute to the discreet handwork of Paris ateliers. Here, the embroidery in matte thread is devouring sequins, veils are dimming out sparkling shines, jacquards are revealing a special collaboration with the best weavers.
But who or what is the designer trying to strangle ? First of all, self-negligence, say his customers, and also the easiest possible solution declare his assistants, as well as the unbearable in-your-face shine confess his friends.
“Suspense is like a woman,” said Alfred Hitchcock. “The more left to the imagination, the more the excitement.” Julien Fournié translates it well into unique garments.
January 23rd 2018 runway show
For this season, Julien Fournié is composing a wardrobe with the Asian heroines he has in mind. Whether they are anime characters, empresses, wives, dancers, protagonists in films by Yimou Zhang and Kaige Chen or in the novels by Yasunari Kawabata, restraint always signs their expression of elegance.
In resolutely 1950 lines, the meticulous needlework infused by the French couturier is mixing noble monochrome fabrics with antique jacquards and brocades adopted, inspired or reinterpreted from the textile heritage of the Far East. Traces of Japanese kimono, prints of Chinese hanfu and shapes of Manchu “qipao” appear, inlayed in gowns which are floating above the ground. Haute Couture is playing with worldwide codes of craftsmanship to better transcend them: designs dare include polka dots on an Asian traditional belt, they include organ pipes on a cheongsam sheath, they add the memory of a obi to a “basque”, they embroider wisteria on a dress in genuine origami for geisha style. The palette prohibits black and promotes powdery tones, shades of bamboo and pink shimmers. Sheer tulle and lace favor superimpositions and deliberately filter the shine for more decency. Silk drape sculpts bodies in closeto-the-bust cuts, sleeves hide many a secret of Haute Couture techniques. Leather gets involved here and there to sharpen waists or elongate legs.
Wearing heeled T-strapped open mules in kaleidoscopic leather, models march on a dashing rhythm. Make-up, hairstyle, light and soundtrack confirm the futuristic character in these aesthetics. Stretched eyebrows and hair tightened as close as possible to the skull mark this awakening to a new consciousness. Like the performers of Butoh, Noh or Kabuki, in their dressing rooms after their show, who reveal more compassion as they are awakening to their true personality, allowing themselves to be more vulnerable.
This is the kind of awakening to which Julien Fournié is calling: to create original fashion designs with a style uniting the best secrets inherited from Paris Haute Couture with other identified and long-established handcrafts, without fear of associating them with digital technologies. Outshining ethnic features and regional identification, constantly reinventing the spirit of Haute Couture, Julien Fournié matches tradition with innovation to express a new cosmopolitan awareness.
July4TH 2017 runway show
Julien Fournié pays tribute to the ladies with a destiny who have become his customers. Far from any fashion trend and a thousand leagues away from vulgar red carpet outfits, these empowered ladies represent genuine fashion icons. The couturier is proposing to these muses his expert cut looks which help lift up the spine to define the new elegance of timeless Haute Couture in a contemporary expression with some delicate Gothic accents.
His color palette (“nude”, black and gold) is declined in selected materials: mohair, jersey, lace and the silk faille which Julien Fournié is using for the first time under his signature. If only the three-quarters sleeves allow to see the bare skin, the derma is sometimes only veiled with a layer of nude tulle all over the body, embroidered with black sequins in strategic places, or adorned with black lace in geometric plunging V-necklines. Yet femininity is celebrated everywhere, including in the pieces without sheer fabric. The silhouette comes first in these close-to-the-body cuts on the top which are suggesting sensuality by reproducing the gesture of morphing, with kimono sleeves allowing to sculpt the bust, while ruffles and amplitude are reserved – from the hipline downwards- to the bottom part of the garments, from the hipline downwards, in order to highlight the right pace for the ladies who will have the privilege of wearing these exceptional pieces.
The same rigor and movement are found in coats and trench coats, while shimmering embroidered fabrics are often reserved to under dresses and only seen through the filter of the sheer “déshabillés” covering them up.
Gold exclusive jacquards of the season are declined in geometric lotus motifs, or referent to “tachism” of the 1940s, just like this great black taffeta dress embroidered with gold sequins. Still in golden tones, nursing pins seem to adjust the bustier à la Charles James in a spectacular nude silk faille dress.
With shoulders almost always covered, the outfits favor knotted drapes often attached by reinterpretations of old jewels in marcasite, onyx and solid silver.
Short hair emphasizes the eyes, just like the feathers placed on the eyelids. Here and there, a crown of feathers bars the face, like the pencil line by the couturier to bring back on the models the gesture of his signature mysterious fashion illustrations.
At the feet of these ladies, T-strap sandals rule, enhanced by a discreet platform. Most times, they come in shades of “nude” often illuminated by the entire surface of the house’s signature heel in whitened gold leather. In floor long dresses, the hemline always floats a few centimeters above ground level, as if to give a glimpse of voluptuousness by paraphrasing these verses by Alfred de Musset;
“And When one gets a glimpse of the foot, the leg can be imagined.
And everyone knows that she has a charming foot. ”
The bride wears a large “nude” ample court coat on an ivory lace sheath with geometric inlays to enhance body curves. Unveiled, the bride will take off the crown of feathers which is masking her eyes only to embrace the man with whom she is about to seal her destiny.
January 24TH 2017 runway show
Julien Fournié is inspired by kinetic art and the works of its masters in the 1960s. The new “permanent member” of the restricted circle of Haute Couture is pacing his collection with a dialogue between 2D and 3D with semi-geometrical, semi-physiological shapes. He is using them both in garment architecture and in graphic embellishments.
This rythmic celebration of movement captures the body like a sculpture in motion, with pure volumes and elaborate cuts. Julien Fournié induces in his repertoire an increased freedom for the body. Hemlines are shortened, more skin is revealed in a collection which often uncovers the shoulders, sculpts the bust and stretches legs. The contrasting color palette lets lime, optic white, orange, fuchsia and menthol side by side in the house’s exclusive prints and jacquards.
Lace in optical white or absolute black wrap a new dimension and depth around the prints in the House’s proposals for luxury ready-to-wear.
A black lacquered tweed reinterprets the skirt suit.
Silver lamé appears in a night blue weave to take the jeans look into the ultra-luxury dimension.
The ultra-fitted shorts put the highlight the legs,
The “kite” blouses play on various volumes.
jersey is used as a favorite material for the architectural ensembles to infuse the silhouettes with geometry.
Bustier dresses play the leading role: their width widens from hipline to mid-calf. They are adorned here with embroideries in “drippings” à la Jackson Pollock. Another bustier dress inflates its volume in the patterned jacquard à la Alexander Calder. A third one flourishes in colorful stripes…
A skirt in triple black organza silk in the same shape displays a new embroidery developed in partnership with Synia, thanks to the technique of “doming”.
Colored silk chiffon dances around a sheath, optical stripes à la Jesus Rafaèl Soto surprise with gold sequins, Vividly colored embroidered lace is cut in 3D to make flowers cascade down the body.
The now classic sandals and compensated pumps conceived by Julien Fournié in a collaboration with the 3D solutions explored thanks to the FashionLab by Dassault Systèmes, are widening their range wit t-straps, reinterpreted in the three colors of the season.
Like “kinetic” embroidery, voluminous collars and tiaras are cut in crystal clear, lacquered black or optical white altuglas, to play,- like Raymond Moretti – with space geometrics and add to the collection’s graphic character, concluding by a futuristic bridal sheath with coat.
July 5TH 2016 runway show
The countdown has begun. Planet earth is part of the finite universe and will soon turn off. Julien Fournié is exploring galaxies and astrophysics, searching for a hopeful route, away from cynicism. “First Light” is the title of the autumn-winter 2016-2017 collection by the French couturier, as a contemporary echo to the definition of Paris as City of Lights, as an enlightened perspective on the only value that could transcend space and time: love.
In our three-dimensional space, selfishness rules, darkness, rigidity and blood seem the only possible adornments under a yet infinitely fascinating celestial vault. The architectured rigor of coats is softened by the femininity of fused jewelry pieces conjuring up the signs of times. Gradually, the couturier calls to a fundamentalization of elegance, creating “contoured” pieces around feminine curves, to reveal each body in a new light.
Adornments and embroidery alike play an essential role in this process: sparkling first on an exclusive new brocade to express the radiance of nebulae, they are then screened by a veil of “dark matter”, or can become crimson crystal stalactites in a gravitational design of organic shapes. They end up playing on the repertoire of discretion in shades of “nude” to accentuate body morphing.
Materials are precious:
– Triple organza silk, cotton organdi or refined to the extreme leather are used in delicate blouses, Including some chosen signs of classic space uniforms and embellished with crystal cuffs around ruffled wrists or crystal arrows on asymmetrical collars.
– With Sophie Hallette lace in esoteric patterns or exclusive brocades made in collaboration with Sfate & Combier, women dare include mohair in their long skirt or coat lining..
– In chiffon, georgette or silk jersey, the cuts enhance anatomical connections.
Everything calls here for the fourth dimension. Julien Fournié, the co-founder of Dassault Systèmes’ FashionLab, is again opening the way for the development of research towards future tools, away from any “new “ technological gizmos:
“Haute Couture should continue to be to fashion what quantum physics is to astronomy,” he said. “I mean to allow entry into another dimension through a paradigm shift. ”
Inspired by the early twentieth century fantasy films, Julien Fournié has reinvented this season the magic of Paris Couture.
Fascinated for the esotericism and the magnetism of Karl Freund’s or Marcel L’Herbier’s movies (respectively “Mad Love” and “Fantastic Night”), the French couturier portrays the female characters who favor mystery enhance their strong personality.
“I also read Letters between Six Sisters, a selection of the Mitford sisters’ private correspondence “, says Julien Fournié. “I was fascinated by the independent thinking and the great wit of these socialites who, despite their radically different political views, were keeping stormy but enduring relationships, always ready to shine together with wonderful elegance, even in troubled times. ”
With contained shoulder lines, highlighting long necks, marked waistlines and slightly rounded hips, backs featuring inlays and transparencies, the silhouettes by Julien Fournié constitute a collection that makes shades of black sing. The brightness of gray velvet, several sparkles of emerald, the deep glitter of ruby confer on Julien Fournié’s “First Night” a particular glitz.
In this world of semblance, sleeves are often extended like gloves to cover hands to the thumb joint, “illusion “ tulle partly covers the skin in a magnetic strategy of charm.
Moiré silks are often replaced by velvet or crinkled vinyl on the back side of tuxedos s. The opening silhouettes intrioduce the ready-to-wear collection of the of the season, which will be available in stores on the day after the show (particularly at Le Printemps department store, in Paris). These first fifteen numbers conjure up the world of magicians, notably through integrated capes at the back of a raincoat or of a little gray dress, in an integrated vest featured in a riding-coatj, in jackets with with detachable tail, in jumpsuits with fabulous inlays of lace or 3D brocades. A black Art Deco skyline on a fuchsia background is featured in the season’s exclusive print by the designer. Julien Fournié proposes with it a tunic a long skirt and a wide blouse with lavallière, which he also declines in a lightweight brocade of black and silver.
The twenty following numbers reveal the specific witchcraft of Paris Couture. The velvet embroidered with sequins in close shades of the same color. A “diamond- shaped ” neckline is embellished with Art Deco geometric patterns. The work undertaken in collaboration with Sophie Halette renews the use of lace embellishments and adds depth to vulnerability through in three dimensional craftsmanship .
Drapé in fuchsia silk jersey with asymmetrical back, glittery bustiers with flaring corollas, chiffon or jersey gowns, a hooded sheath partly in embroidered velvet, a textile sculpture featuring a bouquet of velenous flowers hypnotize to the spectacular final dress in crinkled black vinyl.