Serkan Cura’s Paris fashion week show emerged from behind a tall velvet curtain, above which a painted trapeze swinger tumbled with arms outstretched, waiting in perpetuity to be caught. Around his peripheral were clowns and kings and women in bustling dresses with roses in their hair. I describe all this because the 1770 Théâtre Dejazet was a unique venue for a couture show: ornate but a little unloved, and kept as a stage instead of a runway – us, the audience, sitting in rows or in the upper circle as if about to view a tragedy or a beguiling comedy of errors.
But the only tragedy was that Cura’s show eventually had to end, the only comedic error an occasional shouted declaration of love from an audience member. This was an entirely different experience to a runway and felt all the more refreshing for it. Each model took her turn in the spotlight, posing gracefully, moving slowing, stretching her arms with all the poise of a ballerina warming into her act.
All this seemed natural in light of the theatricality of Cura’s creations. At times survivors of some otherworldly shipwreck, at time Venuses rising from the sea, Cura’s lineup opened with a corset in which sinuous fringes of leather barely covered the breasts, and moved to pieces adorned with clam shell details or feathers billowing like anemones in the deep. A corset of Swarovski crystals looked to be blooming with shell-like growths more than flowers. And to close: a white gown that may or may not have been a manifestation of the seagull calls that punctuated the show’s soundtrack, covered in bursts of white feathers as well as jewels. Interpret the details as you may, but not a one of these looks was any less than dramatic, beautiful, and wholly impressive.
You can see all of the Serkan Cura haute couture spring 2014 runway collection by clicking on a thumbnail on the left. From there you can browse through each of the pictures from the fashion show.
Photography by Imaxtree