When Christian Lacroix was last in Singapore in the 1980s, what struck him most was not the 'perfect clean grass' and a dinner on the beach. What was ingrained in the French couturier, who was here to open a boutique, was Little India.
'Above all, the old Indian district with buildings overrun by vegetation is still in my memory, because I remember raving about it being something authentic.'
This Wednesday, Lacroix makes his presence felt again as his spring/summer 2009 haute couture collection opens the Audi Fashion Festival.
Having his haute couture (which is French for high fashion) collection here is a coup for Singapore: This rare showing of his most exclusive collection almost never leaves France.
A coup, too, as most fashion lovers here will need to fly to Paris to get fitted for couture, though a selection of Lacroix's ready-to-wear designs are available at Tyan at Palais Renaissance. Prices range from $400 for a T-shirt to $8,000 for a gown from his ready-to-wear collection.
British fashion commentator Colin McDowell, who is also AFF's creative director, told Urban in an e-mail interview that he 'chose couture because (this) is the very height of Lacroix's creativity' rather than what is more commercially available in ready-to-wear.
'I wanted Singapore to see the art of French fashion at its peak.'
Lacroix, 57, studied art history, intending to be a museum curator. Incidentally, his sketches and outfits for theatre and musicals are showing at the Christian Lacroix The Costumier exhibition at the National Museum of Singapore until June 7.
But later, he met boutique manager (and future wife) Francoise Rosenthiel in Paris who introduced him to fashion.
He worked at Hermes and Jean Patou before shooting to fame in 1987. Of his dramatic designs in sumptuous fabrics, his 'le pouf' skirt was an instant hit.
Joe Spinelli, programme director of fashion design at Raffles Design Institute, observes: 'His work is like a scrapbook of details sourced from different eras of history.'
Lacroix shares his insights in an e-mail interview.
What is the difference between being a couturier and a costume designer?
It is the same job in a way, since I don't feel like a 'fashionista' interested only in hype, trends and glamour.
My duty and pleasure with design is 'theatralising' everyday life, not only through clothes, but also (through other mediums like) trains, tramways, movie theatres and so on. I have loved the stage since I was a child. I was in love with theatre, cinema and opera, which seemed to be the true life to me. In more concrete terms, couture is supposed to last, with high quality standards in garments that are to be seen up close.
What do couturiers see in a bridal gown that it is so often picked as the outfit to close your fashion shows?
A lucky charm, a tradition, a moving note for the show's finish, as it used to be in the past. Only Mr (Karl) Lagerfeld (of Chanel) and I are still closing the show with a bride. Also, because weddings are an important part of orders and business in haute couture nowadays.
What place does couture have in a world in economic turmoil?
In such a globalised world, with less and less culture and humanity, anything connected with skill, tradition and being handmade is invaluable. We must protect treasures such as the workers and traditional craftsmanship for the future.
How has your couture business been affected by the downturn?
I must say that the ateliers (workshops) have plenty of work - not more, but not less than usual. It is sometimes difficult to believe but the crisis didn't hurt everybody; money is still somewhere. For some traditional families not affected, it is important to keep up big-scale events such as weddings, or for women to keep up with one another.
Do you think it is ever possible to create the experience of wearing couture with everyday wear and, if so, how?
Couture is just one-of-a-kind clothing that is made to measure, like what everybody used to have not such a long time ago when ready-to-wear did not exist.
My grandmother and great-great grandmother were couture-clad, but not by famous designers. Their clothes were made by hand, from the morning suit to the afternoon dress.
Haute couture is not only extravagant ballgowns, but also shirts, trousers and straight skirts too.
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LACROIX'S TOP 5
1 'LE POUF' SKIRT
In the 1980s, skirts were narrow and form fitting, until Christian Lacroix and his puffball version came along and blew everyone away.
The fun garment - from which today's bubble skirt draws inspiration - appeared in Lacroix's debut 1987 collection and marked him as a visionary designer.
2 GYPSY BLOUSE
Lacroix's childhood in the south of France, featuring bullfights and flamenco-dancing gypsies, leaves its mark in this ruffled extravaganza. The off-shoulder gypsy top is a design he keeps returning to, and for good reason: Nothing is as subtly sexy as the flash of a bare shoulder through feminine ruffles.
3 BOLERO
Another recurring theme is the bolero - a cropped jacket open at the front.
Inspired by the bejewelled jackets that matadors wear, a bolero is an easy way to dress up an outfit without looking like you're trying too hard.
4 AIR FRANCE UNIFORM
Lacroix hit new heights with this uniform for national carrier Air France in 2005. The elegantly structured navy blue dress with striking red highlights is the perfect marriage of glamour and function. It remains one of the most stylish uniforms in the skies.
5 WEDDING DRESS
Brides who want a fairytale gown turn to Lacroix.
He started his bridal collection in 1997 and his lavish creations have been a wow for vows ever since.
Glamour girl Christina Aguilera wore one that had a giant mermaid skirt when she tied the knot in 2005.
This article was first published in Urban, The Straits Times.
