LVMH acquired Maison Francis Kurkdjian in 2017. In 2006, Kurkdjian and the cofounder of Maison Francis Kurkdjian, Marc Chaya, created for the Versailles Off festival an olfactory installation, called “Soleil de Minuit.” During the two successive years after that, the perfumer dreamed up an olfactory experience in the château’s garden for the Grandes Eaux Nocturnes night fountain shows. He attended the city’s perfumery school, and a few years after graduating from there, he recreated Marie-Antoinette’s Sillage de la Reine scent, concocting the juice from archival documents. Kurkdjian has a longstanding link with Versailles and its palace. LVMH called “the palace the cradle of the perfume-making craft from the late 17th century onwards.” ![]() Flowers - and perfumes - were à la mode, and the Trianon gardens became home to odoriferous species. ![]() Perfume history runs deep at the Château de Versailles, where in the 17th century Louis XIV commissioned work on what later became the Grand Trianon. The Perfumer’s Garden is set to open next spring. “Saturday I will get into the pool and just lay there - fancy couturier in a child’s blow-up pool,” he said with a laugh. One small one for his bulldog “Jimmy,” who is named for Rucci’s mentor James Galanos, and a larger one for himself. Before this week’s heat wave struck New York City, Rucci ordered two inflatable pools from Amazon and set them up on his terrace. I don’t now but I am happier than ever to do what I want, the way that I want to.”ĭespite the many headaches affecting designers brought on by sourcing tie-ups, fabric price hikes and other issues, Rucci insisted the couture client will always want refined designs and that he can take the heat. “At one point in my life, I had a 16,000-square-foot office and salon and 67 employees. In the process of redesigning his art-filled apartment to be a three-room couture salon, Rucci said having clients come there will enable them to experience the process of couture and his art. Before Elsa Peretti died, she said, ‘The only way to deal with it is through beauty and art.’” I still love my metier.”Īcknowledging the social changes underway in the world, the war in Ukraine, the ebbing away of women’s and gay people’s rights, and other “apocalyptic problems,” he said, “There is no way for us to psychologically defend ourselves or prepare. The designer plans to do more painting on his own in order to silkscreen some of those designs onto fabrics for next season.Īfter 41 years in fashion and nearing his 65th birthday, Rucci said, “I feel very lucky that I am able to do this with the same level of enthusiasm. Rucci works with Dean Harris for any designs that are related to jewelry such as a dress with South Seas baroque pearl buttons on the back. in London before moving on to Bath from Sept. Donovan’s work will be the focus of an exhibition, titled “The Art of Elegance,” from Sept. Photography and production was handled by 26Five. Once again Rucci worked with fashion illustrator Bil Donovan to create a look book. With some designer ready-to-wear suits retailing for $35,000 in specialty stores, “Luxury ready-to-wear has become so expensive that there is more meaning to the logic of haute couture, not just clothes being made by hand to the level of perfection that is striking but the price structure is understood,” he said. Noting how a couture suit without any embroidery from a European house can in some cases start at $125,000, Rucci said his prices - which start at $25,000 and increase based on hand techniques, embroideries and fur - are “more reasonable,” despite the same process of selecting a design, making a toile, doing fittings, creating a basted garment before the final garment is made. An amorphous duchess satin “creme puff”-type tunic paired with a narrow flared evening skirt with hand sewn grosgrain ribbon insets on silk organza is another favorite design this season, Rucci said. The fall collection features a sleeveless leather jewel-neck dress that is embroidered in two patterns, with an over structure over the skirt. ”I love giving things away but I never give things away for publicity - never have,” Rucci added. If you’re showing up with your press agent and being followed by photographers, you’re not paying for clothes,” Rucci said, adding that many couture clients prefer not to be seen so that people don’t know how much they spend. You didn’t see clients in front rows…people - and houses - seeking publicity are part of the pay-for-play story. Those front rows were filled with personalities being paid. ![]() Referring to the most recent couture shows, he said, “We’re back to pay for play.
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