Maison Noir · Haute Couture · Paris

Cut for
the dark.

The Autumn collection, Nocturne. Cloth drawn down to its severest line, then released. Worn after the lights are low.

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A garment is not designed. It is negotiated with the cloth until the cloth gives in.

Nocturne · The Collection

Look 01

The Negative Gown

Bias-cut crepe, oxblood lining

A single bias panel falls from one shoulder to the floor with no seam to interrupt it. The oxblood lining shows only when she moves, the way a thought shows only when she lets it.

Look 02

Le Smoking, Undone

Wool barathea, hand-rolled lapel

The tuxedo taken apart and rebuilt for the body that wears it. Hand-rolled lapels, no padding, no lining over the chest, so it reads as skin under good cloth rather than armour.

Look 03

The Folded Cape

Double-faced cashmere, one length

One length of double-faced cashmere, folded and never cut, held by a single concealed clasp. It is a coat, a cape, and a shawl depending only on the hour and the cold.

The making

From a single
length of silk.

The fall

Suspended, then
let go.

The form

It finds the body
before we do.

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Cut in the nineteenth, by the same eleven hands that have cut here since the house was opened.

Nothing leaves the atelier that has not been draped on a living body and taken apart at least once. The first toile is muslin and chalk. The last is the cloth itself, pinned in a half-light so the fall reads true.

We make to measure, never to stock. A piece exists when it is ordered, in the size of the person who ordered it, and not before. There is no second of anything.

Hands in the atelier

120h

Per couture piece

Of each, ever

By appointment · 9 Rue de la Paix, Paris

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