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Will "Haute Couture" Survive 2010 And After?

More than a century and half later "haute couture" has sustained itself as a "Laboratory of Fashion". Although fashion gurus have been predicting its fall from grace, are at the same time intent on saving its iconic status.

Sad but true - the truly haute couture aficionados (blame the global recession for that) are now looking at the high quality ready-to-wear collections. Prêt-à-porter is soon becoming the mantra. Every haute-couture house now caters to their ready-to-wear collections which predictably deliver a higher return on investment than their tailor-made collections.

However, public perception has been confounded and the term "haute couture" is considered at par with prêt-à-porter collections (ready-to-wear fashion). Fall in revenues have forced a few couture houses to abandon couture divisions in favour of prêt-à-porter. Inevitably, they are no longer considered haute couture, the Italian House of Roberto Capucci for one.

The last British Couture House Saint-Hill & Von Basedow's vision is to create - "wearable pieces of art."

Excerpts from the Paris show 2009:

Jean Paul Gaultier stimulated by vintage Hollywood surprised all with a blend that was equal parts Ava Gardner and Gaultier.At Valentino the new design duo flaunted a sexy new look. It projected the Valentino woman rising out of the archives into fashion's future.

Spanish designer Josep Font paraded his avant-garde credentials with a delectable collection of think pieces. Models in his show trundled about cloaked in a small mound of mohair shag — a funnel-shaped coat — or sheathed in yards of superfine chiffon — an embellished tunic dress — and with conical plastic collages balanced on their heads. Some creations looked like illustrations from a contemporary version of "Through the Looking-Glass."

Maria Grazia Chiuri and Pier Paolo Piccioli initially delivered couture and prêt-a-porter collections that were "more Valentino than Valentino". Changing gears they later replaced stateliness with sexiness, delivering bustiers in nude tulle with black peek-a-boo lace and skimpy skirts.

Every look that Saab created was done in an ethereal white, with attires and appliqués that made models appear to glide in a cumulus cloud.

Giorgio Armani's couture exhibited several pantsuits, embroidered with rhinestone-hemmed cuffs and buttons. Bustier dresses covered in sparkling silver or champagne-coloured crystals, sequins and beaded fringe provided a Grande finalé.

The show attracted its share of star wattage. "The semi-dressed look was in keeping with the times signifying that things are out of kilter."

Rarely do haute couture collections get ever sold; its creation is basically to enhance the prestige of the fashion house. It's an open secret that the haute couture season is reduced to a mere press event. The apparels on display merit being museum pieces - impractical to wear anywhere at all. The quaintness of it is what always attracts the young. However, today's young do not contemplate couture as being in, the ubiquitous mantra being "there's an app for that." Custom clothing that fit perfectly subtly supported with hidden weights and hooks to hold everything in place seems passé.

"Laboratory of Fashion" that title should be renounced - apps or no apps! Global recession has done away with consumerism - perhaps for good.