Garments are often described as architectural or sculptural, their forms echoing the structures and shapes of buildings and monuments. Yet, accessories, too, can embody architectural principles, serving as wearable structures that reflect design philosophies and historical narratives.
During Haute Couture Week in Paris, Gherardo Felloni, Creative Director of Roger Vivier, unveiled the latest Pièce Unique collection, an exploration of architectural details translated into fashion. This exclusive series of seven handbags and three vests draws inspiration from the rich architectural heritage of Paris, reimagining iconic landmarks through the lens of couture craftsmanship.
At the heart of the collection lies Vivier's Efflorescence Jewel Handle bag, which serves as a structural foundation, reshaped and adorned with architectural motifs.
The Théâtral Bag, pays homage to the Opéra Garnier, the 1,979-seat opera house designed by Charles Garnier and completed in 1875.
A masterpiece of the Napoleon III style, the building is an opulent symphony of Baroque grandeur, Palladian classicism, and Renaissance elegance, woven together with the era's signature axial symmetry and modern engineering techniques, in particular an iron framework (keep it in mind as we will see it returning also in other bags), that also features in other landmark structures of the time, such as the Bibliothèque Nationale and the markets of Les Halles.
Reflecting this architectural eclecticism, the Théâtral bag captures the grandeur of the interior of the opera and in particular of its auditorium, where rich textures and gilded ornamentation create a sense of splendor.
The gold satin base of the bag is hand-embroidered using zardozi, a meticulous technique that layers gold thread to sculpt depth and dimension.
The embroidery, incorporating rhinestones and beads, and featuring scroll and foliage motifs, mirrors the opulent stuccoes and carvings of the opera's interior. Coral embellishments evoke the velvet upholstery of the theater, while the handle, crafted from a braided tubular chain, references the intertwining elegance of wrought-iron balustrades. The pièce de résistance, a buckle inlaid with hand-carved Rainbow Jasper semi-spheres, serves as the jewel of this wearable edifice.
A corresponding gilet echoes the sumptuous grandeur of the Opéra Garnier, transforming its opulent essence into a wearable form. Entirely hand-embroidered, this vest is built upon a gold satin base, its surface encrusted with rhinestones, microbeads, and intricate foliage rendered in 24-karat gold thread.
Like the opera house itself, where layers of gilding, stucco, and sculptural detail create a sense of theatrical depth, the embroidery on the vest forms a tactile landscape.
Moving from a Baroque spectacle to monumental classicism, the Palais Royal Pièce Unique bag draws inspiration from the Louvre. Originally a medieval fortress, the Louvre evolved over centuries, serving as a royal residence between the 14th and 18th centuries, before becoming the Musée du Louvre in 1793.
Today, the palace presents itself as a harmonious architectural whole, yet this unity is an illusion achieved through successive renovations and deliberate stylistic continuity maintained by generations of architects.
Given this rich architectural history, Felloni chose not to distill the Louvre's vast artistic and historical legacy into a single motif. Instead, he approached the design sculpturally, mirroring the marble masterpieces housed within its halls.
The bag is indeed crafted from hand-embroidered white satin, its fabric first gathered and sculpted by hand, creating voluminous folds reminiscent of draped marble sculptures. To heighten this effect, pearls of varying sizes and lusters were meticulously selected and applied, their placement enhancing the three-dimensional interplay of light and shadow (the accompanying vest is made with the same technique). Smoky crystals into the composition replicate the veining of marble, lending a sense of organic movement to the piece.
The buckle gracing the bag is a miniature work of high jewelry, adorned with pearls and rhinestones, while the handle comprises a metal framework that provides structure and strength and a hand-carved and polished natural horn.
The story of the Louvre is closely intertwined with that of the Tuileries Palace, created to the west of the Louvre by Queen Catherine de' Medici in 1564.
In 1559, following the accidental death of her husband, Henry II, Queen Catherine de' Medici relocated to the Louvre Palace. Five years later, in 1564, she commissioned the construction of a new residence, the Tuileries Palace, designed to offer more space for a garden. Opened to the public in 1667, the garden would later become a public park after the French Revolution.
Since its initial design in the 16th century, the Tuileries Garden has undergone numerous transformations, each layer revealing a new interpretation of landscape design. For fashion designers, the garden plans offer a unique aerial perspective that may serve as a rich source of inspiration for a variety of designs and techniques, from embroidery to knitwear.
Yet, in the case of Gherardo Felloni, the Tuileries Garden itself was only a partial influence. The primary inspiration for his Tuileries Gate Pièce Unique bag came indeed from the ornate grillework of the main gates, located at the entrance to the gardens in Place de la Concorde, designed by Ange-Jacques Gabriel, the royal architect to Louis XV.
The design process for the Portail Doré Pièce Unique bag began with a flat metallic base, which was then sculpted using two custom-made wooden molds, one to shape the body of the bag and another to form the flap.
The bag is further embellished with individual stones and with a buckle adorned with onyx stones and golden crystal rhinestones, while the handle, crafted from handwoven tubular chain and black leather, provides both strength and elegance. Every element of the bag, leaves, twisted wires, or perforated circular motifs, is handcrafted.
For those with a passion for green hues, the Vert de Gris Pièce Unique bag offers a beaded motif that evokes the intricate patterns of topiary, yet it is actually inspired by the Place Vendôme Column in Paris. Known for its elaborate bas-reliefs and commanding presence, the column was commissioned by Napoleon after his victory at the Battle of Austerlitz.
Construction began in 1806 and was completed in 1810. Modeled after Trajan's Column in Rome, the column features bronze plates that spiral up its shaft. Designed by sculptor Pierre-Nolasque Bergeret, these bas-reliefs were executed by a team of 30 sculptors.
Atop the column stood a statue of Napoleon, dressed in Roman attire, sculpted by Antoine-Denis Chaudet. Though the original column was demolished in 1871, it was later re-erected in 1874, with a replica of the original statue placed atop it.
Felloni's Vert de Gris bag and vest capture the intricate spirals and reliefs of the column through a beaded design, adding depth and texture that recall the column's grand historical presence.
The bag buckle that adorns the bag is crafted entirely by hand, employing high-jewelry techniques to set crystals in shades that complement the embroidery. The handle, designed to reflect the graphic elegance of the column's design, features 500 hand-set rhinestones.
No Paris landmark collection would be complete without a tribute to the Eiffel Tower, and indeed, one such bag stands as a celebration of this architectural marvel. The Emblème Pièce Unique bag draws its inspiration from this iconic Parisian landmark.
The plan to build a tower 300 metres high was conceived as part of the preparations for the World's Fair of 1889. Selected from among 107 projects, it was that of Gustave Eiffel, an entrepreneur, Maurice Koechlin and Emile Nouguier, both engineers, and Stephen Sauvestre, an architect.
Initially, Emile Nouguier and Maurice Koechlin, the two chief engineers in Eiffel's company, had conceived it as a towering lattice-work pylon with four wide columns that came together at the top, but the design evolved, yet the monumental arches at the base proposed by architect Stephen Sauvestre remained an integral feature.
The Emblème Pièce Unique bag does not include an image of the Eiffel Tower, the bag's design takes indeed its graphic inspiration from the view beneath the tower, looking up through its vast latticework that defines its structure (the blueprints for the Eiffel Tower seem more relevant to the design of the bag than the actual tower). The latticework is indeed the true star of the design. The bag's satin base is hand-embroidered with tiny black beads that create a textured surface, while a layer of padding beneath the embroidery adds a subtle three-dimensionality that evokes the tower's structure.
The central buckle is adorned with red tiger's eye stones and rhinestones in smoked amber, evoking the rusted hue of iron over time. In total, around 20,000 beads and crystals were used to create this wearable architectural piece.
Fans of iron architectures should check out the Grande Verrière Pièce Unique bag that draws inspiration from the Grand Palais des Champs-Élysées, an architectural masterpiece completed in 1900 for the Exposition Universelle.
Designed to serve as a grand venue for official artistic events, the construction of the Grand Palais began in 1897. The building showcases ornate stone facades, glass vaults, and innovative architectural elements, including iron and steel framing and reinforced concrete, which were cutting-edge for the period.
The project was entrusted to a team of four French architects: Henri Deglane, who oversaw the nave and facade; Albert Louvet, responsible for various sections; Albert-Félix-Théophile Thomas, who focused on the west wing (which became the Palais de la Découverte in 1937); and Charles Girault, the lead architect, who supervised the central section, including the Hall of Honor, and collaborated with Deglane on the grand staircase of honor.
The Grande Verrière Pièce Unique bag captures the essence of this architectural marvel, employing a fine-wire netting technique that echoes the glass vaults and latticework of the Grand Palais. This wire frame is shaped using two custom-made hand-carved wooden molds, one for the body of the bag and another for the flap, reflecting the architectural style of the Grand Palais. At each central junction of the metal structure, there is a single crystal, inspired by the elegance of the palace's ornamental details.
The sides of the bag are adorned with patterns that pay homage to the ornate doors of the Grand Palais, reflecting its Beaux-Arts influences. Inside the metal shell, there is a small clutch fully embroidered by hand with crystal baguette beads to evoke the way light filters through the glass roof of the palace, casting a shimmering glow on its interior.
The buckle on the bag features natural green fluorite stones, adding a subtle touch of organic refinement, while the handle mirrors the same fine-wire technique used for the body of the bag, with a grosgrain ribbon wrapped around it for added texture.
Felloni's designs focus on specific architectural elements, and the Triomphe Pièce Unique bag is no exception.
Drawing inspiration from the Arc de Triomphe, commissioned in 1806 by Emperor Napoleon after the victory at Austerlitz, this design embodies the triumph of the Neoclassical style. The Arc de Triomphe, designed by Jean Chalgrin, also draws from ancient Roman architecture. However, rather than reflecting the monument’s grand exterior or its location at the heart of a star-shaped intersection with twelve radiating avenues, Felloni was captivated by the intricate ceiling design of the grand and small archways.
The Triomphe bag is crafted from light gold satin and entirely hand-embroidered; the embroidery elements plays a central role in recreating the monument's color and texture. Using transparent beading, the threads create subtle variations in tone and volume, mimicking the architectural depth of the Arc's design. The metal flowers evoke the luxurious detailing of the Arc and the geometries of the monument.
While these pieces are inspired by architecture, it's important to note that the actual structures themselves are not directly visible in the designs. Instead, Felloni distilled their essence, focusing on their textures, geometries, and ornate details, and translating them into fashion.
These designs are undeniably opulent, extravagant, and tailored for wealthy clients. However, beyond their evident luxury, they invite designers to engage more deeply with architectural forms, exploring how their structural intricacies and textural nuances can be reinterpreted in fashion through techniques such as embroidery, fabric manipulation, and metalwork. In doing so, they offer new avenues for expressing architectural grandeur through the language of fashion.
So, no matter where you are, just go out and explore the architecture around you and discover how its motifs, structural elements, and design concepts can be transformed into fashionable and wearable inspirations.
Comments