Within the frescoed salons of the Opéra Comique, Peet Dullaert wanted his show to be a silent symphony, the clothes like the different notes on a musical score, and for a multiplicity of wearers. As with his first official Paris showing during couture in January last year, there was no music, and he was hoping that, unlike then, the photographers would respect the silence. This time, it was the guests, many shown to their places by the affable designer in person, who continued chattering until they realized the first model had entered the room, when a hush descended.
Dullaert’s approach to couture is a democratic one, with comfort key whatever your body shape. There was an enhanced focus on tailoring this season, with a diversity of black tuxedo shapes as a backbone for the collection. “They have a fluid structure but feel very boxed,” said Dullaert. “It moves with the body, that’s really important.” Made entirely without patterns, with fabric draped to fit the body, there was a sense of deconstruction to his tailored silhouettes. “I wanted to show the tailoring how I see it, not as a constriction of the body, but as an embrace,” he said.
The suiting was peppered with details like sinuous pleated wide ribbons, tacking stitches, colorful satin sashes and jewelry-like crystal embroideries that curved around the body. Cropped tailcoats and pants were more than comfortably creased. A low-fronted vest was worn with fabric cones that covered the breasts. Shirts and dresses came crinkled and with Dullaert’s signature rolls and puffs of fabric, highlighting the hips or forming an original train, and skirts had slinky, bias-cut inserts. A series of looks featuring draped and trailing tulle in graduated hues proffered lightness, while certain designs were underpinned with leotards, a carryover from his last collection.