At 9:30 p.m., Maria Callas graces the stage of the Paris Opera on December 19, 1958. This extraordinary gala attracts Paris’ elite from politics, business, and the arts, with cameras capturing the moment for Eurovision broadcast. The anticipation builds as Maria prepares to ascend the grand staircase of the Palais Garnier, marking the birth of the Haute Couture collection 2023-2024.
Stéphane Rolland unveils his 31 dresses, inspired by Maria’s iconic roles and her captivating emotions. The suspended moment commences with a black gazar conical dress, followed by cascading crepe vests and cubic dresses. The designs boast sharp, pure, and noble cuts, while boleros, capes, and frock coats shimmer with bas-reliefs and acanthus leaves in white porcelain. The grandeur of Palais Garnier sets the stage.
The heroines parade before our eyes. Maria’s Wagnerian beginnings are epitomized by a diamond-studded helmet and a black velvet gown. As a “Verdian,” she transforms into Violetta, adorned in crinoline dresses with satin slats or a long sheath gown featuring a sculpture of gold and diamond in the shape of a fan. Eleonora appears pristine in an inverted white crepe cape embellished with biscuit porcelain.
Tosca exudes elegance in a pearlescent duchess satin toga dress, gracefully draped and embroidered with golden olive branches. Maria’s embodiment of Medea is tragic, as she dons a blood-red waffed crepe hooded dress adorned with a burning bush crafted from golden leather.
Meanwhile, in real time the 85 year old French film director Claude Lelouch captures all of the excitement for his upcoming film. Memories dating back to the early 90’s flash through my head reminding me of the excitement when Robert Altman was filming at the couture shows for his film Pret a Porter.
Later,
Diane
