In the Dior ateliers: Jessica Chastain, charming ambassador of couture!
On the occasion of the autumn-winter 2021/22 haute couture collection, the dior house opened the doors of its ateliers, in which pieces were made that reveal a unique savoir-faire and a perpetual search for excellence...script vidéointerviews:jessica chastain, actress:i just think about the craftmanship, the amount of time, the amount of hours, the amount of stitches, the hand stitches to receive a couture show, which is the big, big moment in fashion.victor cognel, pattern maker:we receive the sketches from maria grazia and then we make the volumes on the model, we make the pattern, and then we make it directly in the material to present the first canvas.so we get that. here we braided directly the bias strips on the bustier and then, we put the skirt on. it's big strips of bias tape that have been folded by hand. so we pleat it by hand, directly with an iron.then we insert them and we present it to maria grazia to approve the volume, to know if she likes it aesthetically. what changes should be made? then, once it's validated, we have colours that will be chosen and according to these colours, we make the model in real life and that will be shown on the catwalk. the process that is special in the dress is the hand pleating.the whole skirt and the bias strips which are in the bodice, have been pleated by hand and the weaving is also done by hand.when making a dress, only one person pleats, so on this model, i have pleated most of the strips and on another dress, it will be the person who pleats from the start, who will pleat the rest of the dress.we started the collection mid-may, so it's been about two and a half months that we've been at it. it takes a long time because you have to make all these canvases in their entirety and then make the dresses. there's quite a gap between all the validations. there are dresses that are not validated at first, so we need to rework the volumes and all that.angélique fournier, première main highly qualified:my arm hurts a little by the end of the collection, but it's fine! it's not my specificity to make heavy materials, i'm a 'flouteuse', so i do organzas and chiffrons instead, and then i found myself with a woollen skirt, so that's different. we challenge ourselves, we learn new techniques, we exchange with our colleagues to know exactly what technique is appropriate for this subject. it's very, very rewarding. each house has its own techniques and finishes. these little things, little techniques, these little points, are the difference between each house.
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