After training with Christian Lacroix, Belgian newcomer Bruno Pieters jumped into Paris fashion at the deep end with two haute couture collections—a project soon abandoned in favor of ready-to-wear, which he launched in 2003. What makes him interesting to watch now is his feel for structure, a key trend of the season.
Pieters' fall collection was, he said, inspired by the films of Jean Cocteau, especially "their sense of drama and dreamy effects." His nod to the twenties was evident in the hairstyling, modeled after photographer Lee Miller's, and prints adapted from Art Deco patterns, but apart from these decorative elements, there was little obvious reference to the stated theme. That didn't matter. Though the rhythm of the show was off—hooded jersey drapes, a shearling coat, and a lone black leather pants ensemble were interspersed with tailored suits and jackets—Pieters demonstrated an assured, delicate hand. His best pieces had a timeless quality that evoked not so much Cocteau as the century- and genre-skipping movie Orlando: Light, feminine dresses, brocade coats, and pannier and bell skirts suggested everything from a modern-day Marie Antoinette to a contemporary Daisy Buchanan.
