Haute Couture Lives

PARIS — Fears of the death of the art of haute couture are vanishing with classic and beautiful clothes by Yves Saint Laurent and valiant efforts by younger newcomers, who actually sew the clothes themselves.

Saint Laurent is still the undisputed master. His outfits shown during the fall collections this week were breathtaking in their cut, fabrics and covetable perfection.

Short, swirl-skirted suits with fitted jackets, wonderful high-waisted pants with toreador-short boleros, glamorous evening gowns with all the tulle or velvet details in place. It was as close to perfection as can be found in the fashion world.

At the other end of the rainbow were the younger couturiers, some successful, others less so. The Dutch team Viktor and Rolf presented a curious, sonorous collection with cowbells and little bells plastered all over their dressy satin outfits. It was a ding-dong, slightly crazy moment.

Franck Sorbier showed a collection he’d sewn all by himself from scraps of tulle and silk found at the market. It was an hommage to all the disappearing “little metiers”--from windowpane sellers who shout their wares on the street to the “little hands” who do the stitching in couture ateliers. The results sometimes looked like sweet pastel bonbons.

Jean-Paul Gaultier dedicated his collection to Paris, showing gowns bedecked with images of the Eiffel Tower on the front, or the word “Paris” spelled out in lacy script down the back, and sexy little fitted numbers such as lean leather trousers in chocolate brown with a cognac mink bolero.

At Chanel, Karl Lagerfeld did not make much of a fashion splash at his poolside show, but the clothes were appealing, young and wearable. Short skirts just above the knee, great tweeds in turquoise or raspberry, shiny wide belts at the hip, waist or just under the bust: The outfits were impeccable. Puffy ruffles for cocktail or evening clothes and some sophisticated styles in slithery chiffons had a 1930s allure.

Emanuel Ungaro’s audience entered a cave-like space beneath the Alexandre III bridge to view his sophisticated collection. The Garbo- and Dietrich-like evening wear featured amazing numbers like flesh-colored chiffon dresses with fishtail trains, embroidered elaborately with beads, jet and crystals.

Valentino went in for much draping, even in short clothes. From tweeds to the popular Valentino-red evening wear, the outfits were opulent enough for his many wealthy clients.

At Dior, John Galliano offered a cinematic show that veered between bondage and Edwardian-inspired romance.

Only a tiny few of the world’s richest fashion lovers can afford these clothes, which easily range into the high five figures and beyond, but haute couture has always been a kind of design laboratory . . . and for the fall season, the experiments are working.

In general, the skirts are short, just under or over the knee. Silhouettes are feminine, the waist is in its place--or slightly up or down with lame belts on a straight, flapperlike silhouette at Chanel.

Jackets are fitted to the body at most houses, with great boleros at Saint Laurent. He pads out his shoulders slightly, giving flattering proportions. His trousers are slightly high-waisted and straight-legged.

Colors range from the usual neutral palette of black, white, gray, tan into siena or coppery shades, brick pinks and sky blues. The whole spectrum of reds is back in couture, from flame to Bordeaux to shrimp pink.

Gold, silver, brocades, baubles and beads are striking in the rich collections, where a gorgeous, allover beaded dress can cost upward of $100,000.

Day fabrics look good in crisp flannels, as at Saint Laurent or tweeds at Chanel. For evenings, frothy tulles, slinky satins and velvets, plenty of lace and dollops of ostrich or rooster feathers are in. And for the Rolls Royce set, there is, as always, sable, mink and fox.

For anybody who can pull off a balancing act on stilettos, towering heels look great with these clothes.