A tale of natural, intimate, and artisanal haute couture

Franck Sorbier’s haute couture show, held at Studio Harcourt on January 24, once again left an indelible mark. As models, barefoot shepherdesses elegantly draped in hand-embroidered rustic dresses, graced the stage, the couturier stirred emotions. As one of the last remaining artisans practicing his craft in the purest form, Frank Sorbier stands apart in the Parisian fashion scene, championing a haute couture that is both authentic and humanistic.

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Wearing silk corolla dresses and lace petticoats, models treaded upon scattered straw, proudly displaying dried laurel leaves nestled in their wicker baskets. Occasionally, they gracefully spinned, causing their Spanish Manila shawls with long fringes, the famous mantones of flamenco dancers, to twirl with them. Four singers from the Sarocchi Ensemble accompanied their movements and dance steps with a cappella polyphonies, resonating the folk songs of traditional Corsican music.
 
“The healing chants of the shepherdesses served as the theme for this Spring/Summer 2024 collection. Naturopathy holds great significance in today’s world. This concept intrigued me and led me to explore a humanistic haute couture, something that feels soothing, akin to a benevolent enchantment,” Sorbier shared at the conclusion of his runway show.

The creator painstakingly crafted the entire collection alone together with his wife, Isabelle Tartière. “There was a time when we were a bit more numerous,” he modestly added.
 
Sunflowers, poppies, daisies, and cardabelles (a type of thistle) unfurled across draped skirts and robes, bearing imprints reminiscent of 1950s-1960s tapestry fabrics. Fabric wildflowers were artfully scattered, like a disassembled bouquet, upon a magenta faille silk skirt veiled with black tulle.

 
“There is a genuine connection with nature, quite far from the conventional image of haute couture, which tends to be either very solemn or lyrical and diva-like. I’m going in a different direction, exalting the divas of the fields with a desire for ease,” the couturier continued. In Sorbier’s couture lexicon, casualness and simplicity bear no resemblance to mere simplicity. As he aptly defined his work, it is “the artistry of craftsmanship.”
 
While the ensembles may have appeared classic – featuring bodices, tailored jackets, strapless gowns, draped skirts, and seemingly endless fans – the materials used were anything but ordinary. The couturier, for instance, shaped a fitted Colombe jacket with a high collar using raffia weaving that seamlessly extended into a fringed long skirt. Elsewhere, he employed colorful scoubidou cords, intricately macraméd to compose a stunning top with various intertwining patterns, cascading onto a black skirt with multicolored stripes.
 
To give life to his fabrics, Sorbier expertly combined different materials by stitching them together, a technique he has coined “compression.”

This method was featured across various designs, whether in a flowing chiffon gown, a silk charmeuse top, a tulle dress, or an organza strapless gown.

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Additionally, Sorbier elevated his creations with countless imperceptible precious details. Seashells were discreetly embroidered tone on tone on the bodice and hem of a pleated white dress. A golden tulle dress was adorned with trimmings, metallic threads, and ribbons. A satin jacket was embellished with beaded motifs, sequins, and organic guipure lace. Finally, some ensembles featured 20 different types of lace, intricately cut, applied, and inlaid, creating a mosaic of artistry.

“Everything was painstakingly handcrafted using ancient techniques,” the designer emphasized.

“Many couturiers present only two to three pieces of haute couture, with the rest being luxury ready-to-wear. I find it more intriguing to take a different approach. Haute couture must evolve; it cannot remain stagnant. Young clients no longer desire to wear Cinderella-like dresses that are ubiquitous. They seek exclusivity and collaboration with couturiers. What truly matters is experiencing renewed emotions,” he concluded.