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Serkan Cura – Haute Couture Collection Autumn/ Winter 2014/15 (with interview)

More than just a designer, Serkan Cura excells too as a plumassier, demonstrated by his latest haute couture collection.For his second show as an invited member of the Chambre Synicale de la Haute Couture, the young belgian designer Serkan Cura flies the nest by showcasing two of his passions: corsetry (as a reminder of the years he spent at Jean-Paul Gaultier), and especially feathers, which he both studies and fashions himself in his own atelier with his own hands. Nearly three years of raising golden pheasants were necessary in order to achieve the dress he wanted… This is haute couture which is also here transformed into sheath dresses, trains, bustiers and even tailored trousers… So much celebration for a designer who, at all costs, wants to preserve artisans and the plumasier profession. This seems to be working because within two years of the creation of his label, Victoria’s Secret have even asked him to participate in the creating of some pieces for their famous annual show… Interview: Serkan Cura : It’s true that at thirteen years old I started a collection of simple plastic corsets, all with the feather inlaid on the inside, so there you go. These corsets have evolved from since I was thirteen up until now, and afterwards I have worked on the feather, the fur, the hats, everything, to really try and use all of the techniques and present something which, in quotation marks , ‘came from my own hands,’ from handcrafts. And I can mix all of the techniques together in every sense. And it’s true that he corset is always present. Why? Because I find that corsets redefine women. It’s true that feathers really are a part of me. Firstly, I had already, ‘taken over’ a house that had closed about three years ago, when I left the couture house where I was working. And actually that’s why I really focused on this material. In the meantime I also have coops where we get the feathers from, so it’s very important that I wait during this time. It took around three years or even four years of waiting for the golden pheasant dress. In my first show I had waited for three or four years to have some parakeet feathers. You have to wait, its logical. In fact it’s nature that makes the decisions in my collection. Everything is made by hand; everything is made in my atelier. There isn’t anything that leaves my atelier because I think it’s important to keep the French side. I came to Paris, and for me both haute couture and France are important. I came here to show something, to protect something, that is, the savoir-faire of feathering. The corset is something completely different, but feathering is a French savoir-faire, I look after it, and I want to protect it and renew it at the same time. Music from the show