An Ode to Paris: Stéphane Rolland's Haute Couture Elegy to the City of Light and Shadows

Stephane Rolland's resonant evocation of nocturnal Paris at his latest show in the French capital. Photograph: Andrea Heinsohn

In the 8th arrondissement of Paris, Stéphane Rolland, presented his haute couture collection for Autumn/Winter 2024 on a long, atmospheric runway at the Art Deco Salle Pleyel concert hall. This season was not so much a display of sartorial ingenuity but rather a love letter to the French Capital, through the lens of post-war photography and poetry, writes Jeanne-Marie Cilento. Photographs by Elli Ioannou and Andrea Heinsohn

Glamourous figures amid the evocation

 of Paris' night mist. Photograph: Elli Ioannou

ENAMOURED with the sophistication of post-war Paris, French couturier Stéphane Rolland's latest collection was influenced by the poetic works of Jacques Prévert and the evocative photography of Brassaï. 

Rolland envisioned an alluring, black-and-white Paris, shrouded in mist and mystery, exuding a quiet yet potent sensuality: the city of Édith Piaf, Jeanne Moreau and Yves Montand. The sound of footsteps opened the show while resonant riffs of jazz piano and trumpet suggested smoke-filled nightclubs of the 1940s and 50s.

Called Paroles, Rolland's collection is an ode to the literary and photographic greats of the French capital. The aim of the show was to create a narrative that unfolded like a poetic journey through the city’s nocturnal streets, capturing its hidden beauty and intimate moments. Each piece is part of Rolland's story, from a cut-out tuxedo jumpsuit in wool crepe and black satin with a diamond belt to a tailored dress with organza inserts and an onyx-embroidered bodice, all created with the designer's impeccable craftsmanship.

Stéphane Rolland's designs draw on Brassaï's black-and-white imagery and Prévert's lyrical prose. Brassaï was the professional name of Gyula Halász a Hungarian~French photographer who became renowned in France. While Prévert's poems were collected in books including Paroles (Words) published in 1946, where he writes about life in Paris after the Second World War.

From Rolland's early days of sketching as a child to becoming one of the handful of designers who continue to uphold the unique expertise of French haute couture, Rolland’s passion for fashion has always been evident. His fascination with architecture and modern art has shaped his distinctive, sculptural style, which is evident in each collection. 

The aim of the show was to create a narrative that unfolds like a poetic journey through the city’s nocturnal streets, capturing hidden beauty and intimate moments. 

Coco Rocha wears the spectacular bridal

gown embellished with organza petals. 

Photograph: Andrea Heinsohn

The runway at the Salle Pleyel was transformed into a cinematic experience. Models appeared to glide across the stage in monochromatic, dramatic designs amid curls of fog. Rolland’s attention to detail was evident in all of the designs, from dresses adorned with jewels to the use of luxurious fabrics. 

This season, Rolland's tailoring was particularly superb with well-cut jackets juxtaposed with more ethereal silhouettes. Each piece was cleverly designed to reveal a glimpse of the waist or the back combined with a deep decolletage.  

A standout piece was a long, hooded coat in black velvet and satin with a trapeze skirt in wool crepe embroidered with crystals, sapphires and diamonds. Another was a draped white muslin sweater and a skirt in sequined tweed embroidered with crystal and decorated with ivory feathers.

For the finale, the flamboyant bridal look was worn by Coco Rocha, a commodious gown, festooned with embroidery and white organza petals. A testament to Rolland’s mastery of haute couture, the gown featured a capacious hood paired with a flowing skirt in wool gazar.

Each piece was cleverly designed to reveal a glimpse of the waist, or the back combined with a deep decolletage.

Stephane Rolland takes a bow at the

finale of his engaging Paris show. 

Photograph: Andrea Heinsohn

The collection also featured an asymmetrical dress in white gazar and black wool crepe worn with diamond brooches, a kimono in organza and satin embroidered with crystal, a jumpsuit in ivory adorned with black cubes, a cut-out tunic dress in black sequins, a jersey sweater dress with feathers and a short white tweed jacket with crystals.

Rolland’s use of contrasting fabrics and textures, such as the combination of black chiffon and white gazar, created looks that were both striking and elegant. A sequined tunic dress with white cubist embroidery and evening pajamas in organza and satin showcased the couturier's innovative approach. 

Stéphane Rolland’s celebration of Parisian heritage and artistry through his designs, captured the spirit of the post-war era, yet infused it with contemporary finesse. This collection was visually expressive but also an emotional homage to the city that continues to inspire the designer as it has other artists.

See more highlights of Stéphane Rolland's SS24 Haute Couture show in Paris below

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Andrea Heinsohn

Stéphane Rolland Haute Couture Autumn/Winter 2024-2025 Collection in Paris, France. Photograph: Elli Ioannou

Paris Fashion Week: Highlights from the Kidsuper Spring/Summer 2025 Show by Andrea Heinsohn

Paris Fashion Week: Revolution and Rebellion ~ Kidill’s Punk Futurism at the Expiatory Chapel

One of Kidill's punk and otherworldly designs from the new collection in Paris. Photograph: Elli Ioannou

In the heart of Paris, the Expiatory Chapel was an evocative backdrop for the latest spectacle by Kidill. This historic monument, located in the 8th arrondissement, is a poignant symbol of commemoration and reverence, making it an unexpected stage for the Japanese label's Spring/Summer 2025 collection. This juxtaposition of history and avant-garde fashion encapsulates the brand's essence: merging tradition with radical contemporary expression, writes Antonio Visconti. Photographs by Elli Ioannou 

 

The chapel looms in its neo-classical 

elegance above the gardens and tombs 

of the Swiss Guards in Paris.

THE Expiatory Chapel, nestled in the Madeleine district within the Louis XVI square, carries deep historical significance. Constructed between 1815 and 1826, it honors the victims of the French Revolution, particularly the royal couple, King Louis XVI and Marie Antoinette. 

Classified as a historic monument since 1914, the chapel's solemn architecture and lush garden set the scene for Kidill's bold and rebellious presentation, creating a compelling narrative that intertwined the past with the future. Hiroaki Sueyasu, the creative director behind Kidill, drew inspiration for this collection from a unique source: his creative exchange with the musical duo Ho99o9. 

The band's intense energy and distinctive style profoundly influenced Sueyasu. This marks the first time he has crafted a collection directly inspired by individuals, signaling a new direction in his creative journey. The Japanese designer was captivated by the Tokyo vibe emanating from Ho99o9, blending this with the eclectic street style of Harajuku, particularly the whimsical "Lolita" fashion. This fusion of punk and Lolita styles is evident throughout the collection, showcasing a dynamic interplay between dark, edgy elements and playful, intricate details. 

The chapel's solemn architecture and lush garden set the scene for Kidill's bold and rebellious presentation, creating a compelling narrative that intertwined the past with the future

Punk futurism melded with

streetwear inspired by Tokyo

The SS25 collection features 30 hand-crafted looks that encapsulate Kidill's signature punk aesthetic while pushing the boundaries of conventional fashion. Deconstructed pieces from vintage metal band t-shirts highlight the collection, reflecting Sueyasu's admiration for DIY culture and the raw, unrefined beauty it represents. 

The inclusion of a shoulder bag with tattered and eroded fabrics adds a tactile dimension to the collection, evoking a sense of history and wear. Sleeveless suit jackets and vintage suit pants, created by skilled tailors, juxtapose the roughness of deconstructed elements with the precision of traditional craftsmanship. This blend of old and new, chaos and order, is a testament to Sueyasu's innovative approach to fashion design. 

 A notable highlight of the collection is the collaboration with Umbro, which brings a sporty edge to Kidill's punk-inspired pieces. Track jackets and game shirts, reimagined with the label's distinctive flair, merge athletic wear with high fashion. This partnership not only broadens the appeal of the collection but also reinforces the brand's ethos of breaking down barriers and challenging norms. 

Sueyasu's collection is also rich with symbolic details that enhance its narrative depth. The myriad of zippers and padlock fastenings, sleeveless denim vests, and the symbolic use of laces all contribute to a cohesive aesthetic that embodies the spirit of customization and individuality. These elements, influenced by Ho99o9's stage costumes and personal style, infuse the collection with a sense of authenticity and rebellion. 

This blend of old and new, chaos and order, is a testament to Sueyasu's innovative approach to fashion design, rich with symbolic details that enhance its narrative depth.

Ho99o9 is the inspiration

for Sueyasu;s latest collection 

The influence of artist Kae Tanaka is evident in the graphics and embroideries that adorn several pieces in the collection. Tanaka's work, characterized by its intricate and thought-provoking designs, complements Kidill's avant-garde aesthetic. This artistic collaboration adds another layer of complexity to the collection, highlighting the intersection of fashion and art. 

A recurring motif in the collection is the code "999," which holds a special significance for both Sueyasu and Ho99o9. This number, an inversion of the number 666, symbolizes a new stage of evolution and boundless possibilities. 

It represents a progressive mysticism that aligns with the current state of mind of Sueyasu, embodying a sense of hopeful defiance and forward-thinking. 

Ho99o9's eclectic blend of digital hardcore, punk, and trap-infused hip hop has carved a unique niche in the music world. Their volatile sound, which incorporates elements of industrial, metal, and noise, mirrors the abrasive and irreverent aesthetic of  the Japanese brand. The duo's lyrics often address human emotions, societal issues, and political realities, resonating with the themes explored in Sueyasu's fashion. 

The SS25 collection is a bold declaration of punk futurism and radical contemporary design that challenges conventions and celebrates individuality

Harajuku style meets the Lolita

motif in the designs

The ongoing collaboration between them exemplifies the synergy between fashion and music, illustrating how these creative realms can influence and elevate each other. This relationship, which began almost two years ago, has culminated in a collection that is both a tribute to and an evolution of punk culture. 

The SS25 collection, presented within the hallowed grounds of the Expiatory Chapel, is a bold declaration of punk futurism. By blending historical reverence with radical contemporary design, Sueyasu has crafted a collection that challenges conventions and celebrates individuality. 

The collaboration with Ho99o9 and the incorporation of diverse influences underscore Kidill's commitment to pushing the boundaries of fashion. 

 As the models paraded through the chapel gardens past the tombs of the Swiss Guards, the juxtaposition of past and present became a powerful visual metaphor. It was a reminder that fashion, much like history, is an ever-evolving narrative.

Scroll down or tap pictures to see highlights form Kidill's SS25 show in Paris 

Pharaoh at the NGV is the Greatest Exhibition of Ancient Egyptian Art Ever Seen in Australia

Dr Marie Vandenbeusch, Curator: Funerary Culture of the Nile Valley, British Museum in the 2024 Melbourne Winter Masterpieces® exhibition Pharaoh, a collaboration between the British Museum and the NGV, on display from 14 June – 6 October 2024 at NGV International, Melbourne. Photograph: Eugene Hyland

By Sasha Grishin, Australian National University

There have been many exhibitions of ancient Egyptian art held in Australia. Pharaoh, at the National Gallery of Victoria, is outstanding for its scope, scale and presentation.

It is the greatest exhibition of ancient Egyptian art we have ever seen in Australia.

The exhibition comes from the British Museum, holder of the largest and most comprehensive collection of Egyptian antiquities outside the Egyptian Museum in Cairo. Over 500 items have been selected, including monumental sculptures, tomb and temple architecture, coffins, papyri, funerary objects and an extensive display of jewellery.

Numerically, this is the largest (and heaviest) touring exhibition ever mounted by the British Museum and it is the largest exhibition of ancient Egyptian art ever shown in Australia. The effective dramatic display, designed by Peter King who treats the whole space as a cycle from dawn to dusk, occupies all of the major downstairs exhibition spaces at NGV International.

The functionality of art

For a civilisation that left such a huge artistic heritage, it is sobering to remember the ancient Egyptian language had no word for “art”.

Art was something functional that gave permanence to the objects of this world, so they could continue to serve their owners in the next life. Much of the surviving ancient Egyptian art is tomb art, designed to withstand the test of time and to preserve in an idealised form the beauty of balance, order and harmony, while celebrating the absolute power of the pharaoh.

Ornament depicting the throne name of King Senusret II Egypt, possibly Thebes 12th Dynasty, reign of Senusret II, about 1880–1874 BCE. Electrum, lapis lazuli, cornelian, feldspar. British Museum, London © The Trustees of the British Museum

What is it about ancient Egyptian art that holds us spellbound? In part, it is the sense of sublime beauty, its permanence, with forms seemingly unchanging over millennia, its antiquity and its state of preservation. More than anything else it is the fact that it is permeated by a sense of magic, somehow meant to overcome the forces of death.

When a person died, they were mummified and engaged in a ritual involving an interaction with the “ka” (life force) and the “ba” (human essence). They were surrounded by what we could think of as art objects that involved magic spells, magic amulets and protective deities.

Statue of Pharaoh Sety II wearing emblems marking his royal status. Egypt, Thebes, Karnak, temple of Mut 19th Dynasty, reign of Sety II, about 1200– 1194 BCE. Sandstone. British Museum, London © The Trustees of the British Museum

What struck me about this exhibition was this sense of spirituality – the mystical otherness. We are presented with a variety of beautiful objects across seven thematic categories. Each section, in a way, comments on the role of the pharaoh in Egyptian life.

The elaborate and the intimate

In an exhibition of this nature, there are a number of memorable objects: the granodiorite Head of a colossal statue, probably King Amenemhat III; the life-size sandstone seated Statue of Pharaoh Sety II wearing emblems marking his royal status; the monumental red granite Statue of a lion erected by Pharaoh Amenhotep III, reinscribed by Pharaoh Tutankhamun; the limestone Statue of future Pharaoh Horemheb and his wife; the huge painted limestone Relief showing King Mentuhotep II wearing the red crown; and the imposing monumental limestone sculpture of the Statue of Ramses II as a high-priest.

Statue of a lion. Originally Sudan, Soleb; later Sudan, Gebel Barkal 18th Dynasty, reign of Amenhotep III, about 1390–1352 BCE. Red granite. British Museum, London © The Trustees of the British Museum

All of these are huge works with a dominating presence, a marked frontality and a sense of permanence.

What intrigued me were some of the more intimate, immensely elaborate jewellery-like pieces that served as seals, rings, plaques, amulets, pendants, beads and earrings.

These include: the ornament of a winged Scarab holding a sun-disc, depicting the throne name of King Senusret II with its pieces of lapis lazuli; the faience Throwstick of Pharaoh Akhenaten – an ancient Egyptian boomerang; Girdle with amulets, beads and pendants made of electrum, silver, lapis lazuli, feldspar, amethyst, cornelian, glass; and the Ornament with a bull’s head on a gold mount decorated with uraei and lotus flowers made of gold with the bull’s head carved into a piece of lapis lazuli.

Throwstick of Pharaoh Akhenaten. Egypt, Amarna, Royal Tomb 18th Dynasty, reign of Amenhotep IV/ Akhenaten, about 1352–1336 BCE faience. British Museum, London © The Trustees of the British Museum

While one may be seduced by the ornamental design, the exquisite craftsmanship and precious materials, there is also something ethereal about these objects of beauty.

They were intended to ward off evil spirits and beg for their owner’s smooth transition into eternal life, where the person could experience life in their present form but free of pain, illness or hardship.

3,000 years of art

The Book of the Dead (more accurately translated as the “Book of Coming Forth by Day”) was a collection of magic spells intended to assist a deceased person’s journey through the underworld. The texts were prepared for a specific person and speak of the needs of a particular individual.

Sheet from the Abbott Papyrus. Egypt, Thebes late 20th Dynasty, reign of Ramses IX, about 1110 BCE. Papyrus. British Museum, London © The Trustees of the British Museum

Since I was a child, I loved reading this book as it was the voice of an ancient Egyptian speaking directly to me.

One passage reads:

There is no sin in my body. I have not spoken that which is not true knowingly, nor have I done anything with a false heart. Grant you that I may be like to those favoured ones who are in your following, and that I may be an Osiris greatly favoured of the beautiful god.

This beautiful and significant exhibition traces the art of ancient Egypt for 3,000 years from the unification of Upper and Lower Egypt and the beginnings of the Old Kingdom with the development of hieroglyphs, in about 3000 BCE, through to the Roman conquest.

A solemn divine majesty runs throughout this exhibition as it celebrates the eternal and magical power of art.

Pharaoh is at the National Gallery of Victoria until October 6.

Sasha Grishin, Adjunct Professor of Art History, Australian National University