Collection A Night at the Opera

Angela Merkel, Jacinda Adern and Oprah Winfrey may be some names that come to mind when you think of powerful women in today’s society, but seeing women in positions of power is still a relatively new phenomenon. But did you know that women once ruled the world?

Before the creation of Genesis and the myths of Ancient Greece, societies all throughout the Middle East, Asia and Europe were said to have venerated the feminine. In Merlin Stone’s 1976 ground-breaking book ‘When God Was a Woman’, Stone traces the ancient worship of the female goddess to as far back as the 7th c.BC. She went by various names: Isis in Egypt, Astarte in Canaan, Inanna in Sumer, Ishtar in Babylon (first to establish laws of Justice), Sarasvati in India, Brigit in Celtic Irelan, and Nu Wa in China.

As early as the the 2nd c.BC, women were documented as being able to represent themselves in court, motion for divorce, own and manage property, free slaves and sue other people. In the eyes of the law, men and women were virtually equally. Perhaps the most famous civilisation is Ancient Egypt, where by the 5th c.BC the classic historian Herodotus wrote that: “Women go to the marketplace, transact affairs and occupy themselves with business while the husbands stay at home and weave". Some of the most famous female rulers in all of history were in fact the Egyptian Queens Cleopatra VII and Nefertiti, two fierce female leaders who used their charm, wit and intelligence to rule.

Through every garment, Delphine wants to make people think and reflect on the position of women in our current society. Her designs feature symbolism often used to characterise men to empower the wearer.

The dress ‘Starry Night’ is inspired by the Salon du Soleil, a small circular room within the Palais Garnier that is dedicated to the sun. In the centre medallion of the salon, two mythological salamanders can be seen crawling around each other while a spectacular golden burst of the sun’s rays fills the dome.
In mythology, the salamander was viewed as a symbol of immortality due to the belief that it was capable of withstanding fire. This strong symbolism has been interpreted on the front of the dress through the depiction of a salamander. The fire breathing dragon, another ancient creature, is represented at the back of the dress. In mythology, the dragon has a dual interpretation: while in many cultures it is a symbol of evil, in the Orient it is in fact a symbol of imperial power and authority.

The spirit of these two animals is embodied in a Starry Night to empower the wearer to make her mark wherever she goes. Swirling around the neckline of the dress, the salamander and dragon use their magical forces to reassure her of her capability, while offering protection.

Cultural myths rather than biology have traditionally defined the roles, rights and duties of men and women. While physical strength has been one of the main ways that men have been able to exceed the abilities of women, women are not biologically prevented in any way from achieving the same as a man. It is the set of cultural norms assigned to genders, however, that has restricted women.

The international bestseller, ‘Sapiens: A Brief History of Humankind’, argues that ‘A good rule of thumb is ‘Biology enables, culture forbids’. Biology is willing to tolerate a very wide spectrum of possibilities. It’s culture that obliges people to realise some possibilities while forbidding others’.

‘The Sphinx’ reflects on this competing notion through the representation of two mythical sphinxes facing each other on the back of the dress. Unlike the Egyptian sphinx which was portrayed as male, in Greek mythology, as represented on the dress, the sphinx was depicted as female. She was portrayed as a winged lioness with a human face and was used to protect the entrance of the city. This symbolism supports the view that there is no difference between male and female genders - it is a cultural construct developed over time.

The presence of the sphinxes is contrasted by the softness of 17 layers of tulle floating around the ballerina allowing her to express her femininity, while hand-painted feathers on the front of the dress enable her to take off and be free to start her own life without being restrained. The Opera of Paris is a constant reminder of this combination: a harmony of ancient age and modernity, a world where gender equality is possible.

While Delphine’s designs use symbolism and traits often assigned to men, through this dress and her designs, she wants to encourage gender equality by taking and being inspired by each other’s strengths. In all of her designs, she wants to demonstrate that like men, women can be strong and determined, while also being protective, confident and assertive.

Time and time again, we hear that girls wear pink and boys wear blue. Why do these gender stereotypes exist?

Carl Jung, the Swiss psychoanalyst, believed that men and women contain a mix of qualities that are typically associated as masculine or as feminine. For men, these archetypical female traits were tenderness, compassion and vulnerability while within women he believed there were masculine qualities such as courage, assertiveness and analytical thought. These qualities could be expressed if allowed, or repressed and removed, thus remaining ‘unconscious’. However, Jung found that from childhood we create gender identities and roles to conform with the often crippling gender stereotypes that society imposes. These stereotypes tell us that girls play with dolls while boys play with Lego and trucks.

Jung theorised that the embrace of all qualities allows for a true, united self to emerge. His theory may remind you of the Ancient Chinese belief in dualism, which is symbolised by yin and yang. This recognises that seemingly opposing forces can complement each other and that harmony can be achieved when everyone possesses a balance of different characteristics and qualities.

Throughout the collection, Delphine seeks to find a solution to the issue of gender inequality. She believes that this can be solved by educating girls and boys from a young age that they should embrace all aspects of their personalities, before they are taught to adhere to strict gender stereotypes. Integrating social and emotional learning at school would allow children to empathise by understanding the existence of gender norms and learn the value in recognising that each person is unique and that differences in gender should be celebrated rather than ignored and fought.

Delphine conveys this message in her dress, ‘A Golden Goddess’, while paying homage to the Palais Garnier by incorporating classical and baroque features into the dress’ design. Despite the fact that the baroque style, with its opulence and grandeur, was a rejection of renaissance architecture, renowned for its harmony and balance, Charles Garnier used both styles in the construction and design of the Palais Garnier. The dress, with its long floating silk chiffon, represents the classical architecture of the opera house and is reminiscent of white columns and the drapes worn in Ancient Greece. The overloaded embroidery, a mix of gold and silver sequins, pearls, metallic threads and seed beads, represents the ornate baroque style of the opera house. While they are naturally opposing styles, when put together they complement each other perfectly in harmony.

At least once in your life, have you ever felt that you weren’t acting like your true self and were trying to act like someone you’re not?

All of us, whether a man or woman, occasionally wear masks to try to conceal who we actually are rather than revealing our real selves. The reason we do this is inherently psychological; rather than acting like ourselves, we wear a mask like a form of protective armour when we are fearful of rejection for exposing what we believe to be our weaknesses. As we feel more comfortable and able to trust the other person, we are able to take off the mask. Likewise, as we become more self-aware of how we may be perceived, we learn to let go of our fear of being who we really are.

A pièce de résistance, ‘Beneath the Chandelier’, is the final dress of the collection and the one that everyone waits for eagerly, like the moment when guests turn to look at the bride as she walks down the aisle. Nothing is a truer representation and reflection of one’s self authentic self than a wedding dress, which allows the bride to radiate what she feels inside to the outside world: internal beauty, joy and love for the person she wants to support during the good and bad times and devote her life to. Wearing it, the bride is no longer wearing a mask; she is her true self.

Adorned with Swarovski stones and crystals on a delicate French lace, the wedding dress is an interpretation of the Palais Garnier’s magnificent chandelier. Faced by critics who considered the chandelier to be ostentatious in its size, Garnier replied at the time: "What else could fill the theatre with such joyous life? What could offer this variety of forms, in the arrangement of the flames, in these grouped and tiered points of light, these tawny gold hues flecked with bright spots, and these crystalline highlights?". With long sleeves, the dress has an A-line cut with a structured collar and two columns on the shoulders forming a dramatic train at the back. Like Garnier’s chandelier, the bride lights up the room, reflecting the multitude of facets that makes her who she is.