Franck Sorbier fuses Andean splendor with Parisian pageantry on couture runway
The show's standout image was a model crowned in gold, wielding a giant sun-topped staff—a visual exclamation point for a collection steeped in pageantry and myth.
Sorbier's silhouettes had a historic weight, with loose, voluminous skirts swirling beneath strict, structured bodices, conjuring a sense of ceremony. Gilded chainmail and coin-like embellishments suggested a protective armor, but rendered in delicate, sleeveless forms.
A poncho, fringed in sumptuous gold, mixed Andean spirit with Parisian panache—while elsewhere, lush, unfurling coats were embroidered with organic, figurative motifs that seemed to grow across the fabric. Detail shone throughout: dense ruffles poking from the bottom of old-world shirts, rich shawls cascading with embellishment, and surfaces that rewarded a second, closer look.
Sorbier's backdrop was equally arresting — a landscape of bubbling, volcanic fabric, amorphous and vividly alive, underscoring his ability to transform couture into a living tableau.
Known for merging cultural narratives with technical virtuosity, Sorbier proved once more that Paris couture can look backward and outward, drawing inspiration from global myth while staying rigorously hand-crafted.
Through this cross-cultural lens, Sorbier's latest collection stood as a bold reminder that couture, at its best, is both spectacle and narrative.
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The first ends firmly on the final stress ('sky', 'by'/ 'tide, 'denied'/ 'life', 'knife') while the second revises the rhythmic emphasis with feminine endings ('shaking', 'breaking'/ 'flying', 'crying'/ 'fellow-rover', 'over'). Herring-gulls are constantly 'crying' in that long 'i' sound. But a word with a short 'i' ('trick') is the clinching effect in the last line: as so often, the voyage concludes with death, but the characterisation of life as 'the long trick' is what stands out, suddenly intruding on those cliches of 'quiet sleep' and 'sweet dream' with an unforeseeable adjective-noun combination: 'And quiet sleep and a sweet dream when the long trick's over.' But what of that first line, and the word 'go' – added for the first time in Ballads and Poems, 1910, present in the 1922 Selected Poems, lacking in the 1923 Collected Poems, but back in place in the revised Collected Poems in 1946? 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