Crafting a floor-length gown in duchesse silk on par with the finest Parisian couture is no easy feat, but Swedish couturier Bahareh Ardakani has it mastered as she dresses Vogue Scandinavia’s editor in chief for her latest gala appearance
The fine silk spills just-so, hugging the curves of Vogue Scandinavia’s editor in chief Martina Bonnier as she steps foot on the red carpet. The floor-length draped bustier gown with a contrast skirt and train, crafted with couture-level skills by Ardazei’s atelier is especially made for Bonnier, a unique creation dreamed up by the brand’s founder Swedish couturier Bahareh Ardakani.
It is also an exclusive glimpse of what to come in the next ArdAzAei Couture collection which Adakani will be unveiling in Paris this July. “Although the theme for the show is currently a secret, I can reveal that my design manifesto has been the driving force behind the collection,” the designer explains.
Her philosophy, rooted in the idea that the inner properties of a gemstone hold the key to revealing “the hidden dimensions of the sublime, which are then reflected in the gem's outer gloss,” permeates both Bonnier’s couture gown and the upcoming collection.
Work-in-progress shots of the couture gown being assembled by Bahareh Ardakani of ArdAzAei Couture.
The beaded bustier in particular reflects this fascination with gemstones. Decorated by hand with vintage 1920s glass beads embroidered on by “one the most prestigious embroiderers in Paris,” it is created using a typical “Haute Couture type of corsetry technique.” A unique savoir-faire, the bustier is constructed from a base of silk tulle, overlaid by a top layer of silk organza which also holds the embroidery. Haute Couture techniques like these, quite literally turns a gown into a true work of art, meticulously hand-stitched and considered.
The process involves many different stages that the couturier describes as "jewels of craftsmanship." It all begins with sketches that serve as the foundation for the vision. “From there, we conduct research into fabrics, patterns, and toile-making,” the designer explains. “We then create pattern sketches for the embroidery, and after much discussion and trial and error with the team, we decide on the final design.”
The completed gown.
When she and her team have the base silhouette and all the necessary measurements, fittings ensue to ensure that the dress fits perfectly. “For me, the process is only complete when the client is satisfied and when I feel that the creation is perfectly balanced and made with no compromises,” notes Ardakani. “The satisfaction of both the client and the designer is the ultimate goal.”
After technique, material is the most important aspect of creating a couture gown. “For this gown we needed a heavier quality with a soft hand feel for the draped body, so I found a silk crepe that I loved from a renowned mill in Italy,” explains Ardakani.
Swedish couturier Bahareh Ardakani with Vogue Scandinavia's editor in chief Martina Bonnier .
For the skirt and train, she wanted to create contrast using shiny French-woven duchesse silk leftover from her last show to off-set the matte crepe. “I care a lot about the resources put into the making of the fabrics we use so it always feels wonderful when we find occasions to reuse them,” she explains.
Creating a couture dress using haute couture techniques is a dynamic and challenging process that grows and evolves during the making. “It's a beautiful and fascinating collaboration between myself, my team of talented craftsmen, and the client who will wear the finished piece,” Ardakani concludes.