FIRST KINETICS
Spring-Summer 2017
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.

FIRST LIGHT
Fall-Winter 2016/2017
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. ”

FIRST PARADISE
Spring-Summer 2016
January 26th 2016 runway show

The soothing rhythm of waves on a sandy beach yields to the enchantment of the melodies composed by John Barry for adventure movies. Clove, amber, vetiver spread their spell and announce tropical shores: Julien Fournié has transformed the nave at the Oratoire du Louvre into a vessel sailing on the waters of a fictional ocean approaching a fashion Eden, full of mystery and voluptuousness.

On these shores, the elegance of the female residents is first sketched in a cooling print on white linen: large tropical flowers in watercolor are framed in a charmingly fitted cocktail dress. The following ultra-fitted pants are worn with a draped jacket in a papaya shade. The range of colors drawn from vivid pinks are thus driven to soft oranges. Fournié dares the entire palette of oceanic rainforest fruits and blossoms : from saturated dragon fruit pink to mangustan deep purple or the intense green of philodendron leaves, the designer also focuses on the various shades of strelitzia, hibiscus and lagoon reflections.

With opulent hair, worthy of the most charming adventure movies heroines of the 1960s and 1970s, the Fournié protagonists could have favored as role models Jacklyn Smith (Charlie’s Angels) or Jaqueline Bisset (The Deep). Wearing denim pieces is allowed on their tropical island, as long as they are carved with cuts to flatter femininity. Similarly, the removable shape of a jacket “basque” on a denim or lagoon brocade riding-coat, returns attached this time to a fuchsia crepe sheath in matching fabric. This is not the only allusion to tailoring in the art of dress-making. On several occasions, the couturier creates a double fold on the back of the neck and on the bust to include the tricks of tailored jackets into spectacular evening gowns.

Jacquards and 3D embroidery also make this fashion statement contemporary. Inspired by Asian blooms in a fragmented vision, the two-dimensional graphic motifs in original color pairings are enhanced with three-dimensional coordinated metallic embroidery. These embellishments substitute, for the season only, the designer’s oversize necklaces. Birds of paradise flowers and leaves, reshaped in fabric or matte glass beads come here and there to adorn the outfits. Until the final wedding dress appears on the runway: cut in the same printed linen with orchids and palms as the opening number, it offers an ample volume. Worn with an entirely embroiders coordinated bolero, the form-fitting top shines with sheer sequins for a cooling dew effect and spikes with crystal clear craftsmanship.

Standouts also include :
– In terms of style: Purple high-waisted gaucho pants worn with a fluid blouse in the color of guava.
– In terms of lightness: A black “ruché” short skirt with a light knitted intarsia top featuring a philodendron leaf motif.
– In terms of opulence: two evening dresses entirely covered with Sophie Hallette embroidered lace. the clash of colors in the first sheath hints at African tradition, while the second gown displays a graphic embellishments inspired by fireworks.
– In terms of silhouette: two form-fitting sheaths seem to wrap around the body with a set of 172 buttons. Here lies the secret : no seams in these dresses which have adopted the “orange peel” process to follow body curves

Graphic prints from lush rainforests and embroideries of cat’s eyes will appeal to ladies favoring colors in ultra-chic tones. They travel both in the first 15 ready-to-wear luxury looks and in the 17 following Couture gowns. Available on the day after the show for the first set in selected boutiques, and in the house’s Couture salon for the second set, the collection creates a privileged relationship between luxury ready-to-wear and Couture, a link between models and customers, a bridge between runway and retail.

Julien Fournié
FIRST NIGHT

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.

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