Celine Dion Poses Nude for Vogue, YAS!
Celine Dion stripped down for Vogue during Paris Couture Week, and it was perhaps one of the most beautiful things we can ever hope for.
“We have to make haute couture industrial.” Celine said on the topic of fashion. “The clothes follow me; I do not follow the clothes.”
“Years ago, Celine bought a classic little black dress from the Christian Dior atelier when the house was overseen by John Galliano,” Vogue explains. “It is simple, falling to mid calf, and narrow as can be with just a hint of stretch. It requires a minimum of jewelry, a statement bracelet or perhaps one of the major diamond rings she designed with her late husband Rene Angelil: two pear cuts set in a wide pave band, or two hearts of diamond and emerald abstractly interlocking, on a cushion of yet more diamonds. This LBD forces you to walk one foot in front of the other. This is a dress Celine knows well and clearly loves, the simplest evocation of the private luxury of couture and the total antithesis of the red carpet hoopla that attends the union of fashion and celebrity. It is also the dress she wore to Rene’s funeral.”
Here’s a little naked fact to ponder while Celine Dion changes looks between shows: for the past five years she has worn haute couture near exclusively for her own performances (in Las Vegas and on her current “mini-tour” of Europe). She performs a minimum two hours a night, five or six nights a week, dancing and curtseying and generally gesticulating sans abandon, in handmade, hand-beaded delicacies designed solely to walk a catwalk or a carpet (and often with handlers). For Celine’s orders, the houses send teams to Nevada for typically three fittings, before the garments are ultimately finished in her local, private atelier. Armani Prive, Schiaparelli, Giambattista Valli, Versace…only a partial list. Everyone, basically. In Vegas, Velcro panels are added to allow for her ribcage to expand or for a quick outfit change. Micro straps of elasticized chiffon prevent a slit from becoming a sloppy situation mid-squat. Shoes—always heels, never platforms—are ordered one size smaller (she is normally a 38) and refitted with metal shanks. Says Celine, “We have to make haute couture industrial.” And, more enigmatically: “The clothes follow me; I do not follow the clothes.” Which is to say: the haute couture, with all its fragility and handcraft, has to perform professionally for Ms. Dion. And privately as well. Years ago, Celine bought a classic little black dress from the Christian Dior atelier when the house was overseen by John Galliano. It is simple, falling to mid calf, and narrow as can be with just a hint of stretch. It requires a minimum of jewelry, a statement bracelet or perhaps one of the major diamond rings she designed with her late husband Rene Angelil: two pear cuts set in a wide pave band, or two hearts of diamond and emerald abstractly interlocking, on a cushion of yet more diamonds. This LBD forces you to walk one foot in front of the other. This is a dress Celine knows well and clearly loves, the simplest evocation of the private luxury of couture and the total antithesis of the red carpet hoopla that attends the union of fashion and celebrity. It is also the dress she wore to Rene’s funeral. #CelineTakesCouture Photo by @sophfei.
“They see me; I don’t see them,” is Celine Dion’s line on the great blob of paparazzi and fans that follows her everywhere. She gives them any picture they ask for, plus a great many more. Consider an appointment with at the house of Schiaparelli, where she poses for the creative director Bertrand Guyon on a window sill overlooking the Place Vendome. She wears a tiny whimsical dress of Swarovski chainmail re-embroidered with yet more crystals and high sparkly Victorian boots–a little Twiggy, a little Tina Turner. Says her dancer Pepe Munoz: “That’s a rockstar!” Says Libby Hahn, who handles public relations for the house: “I am fairly certain she was a rockstar before she put on the dress.” Says Celine’s own longtime photographer Denise Truscello (a Canadian cinephile with her own rockstar style), thinking of the long lenses poised on the place below: “Is the dress pulled down in the back?” Says Celine Dion: “They might see my butt, but I don’t think they mind.” #CelineTakesCouture Photographed by @denisetruscello
Celine Dion doesn’t try to hide her feelings. Her candor is one of her many charms, coupled with lovely manners and an emotional transparency that’s unique in anyone (let alone a global popstar for over 30 years). Last year at the haute couture show for Giambattista Valli, she sang, clapped, oohed and cooed, before ultimately going backstage post-show to weep with Giamba and his mama. “No one else was applauding,” she recalls slightly sheepishly as she waits to enter the Petit Palais for this summer’s Valli catwalk. She is joined by a featured dancer in her European show by the name of Pepe Munoz. Pepe is a Spaniard, originally from Malaga; he is also a budding fashion illustrator (@pepemunozillustrations). Celine was introduced to Pepe by Las Vegas show folks she knows through her butler’s wife, who is a dancer herself. (“All the people I meet,” says Dion of her Vegas social life, “are acrobats, dancers, or divers. That’s family.”) Now the two are fast pals, inseparable onstage (her in a jeweled, super-heroic unitard, him in his basic helpless hotness) and off. And so when, this season, Celine decides to express her exuberant enthusiasm for Valli’s work it is by making flamenco hand signals to Pepe, who is across the aisle, and his front row neighbors, actress Rossy de Palma and the esteemed Spanish choreographer Blanca Li. And there are far too many runway winners to count. A delicate tiny floral tee-shirt of fully embroidered tulle worn with a collar or harness of black pailettes. Ball dresses of chantilly lace, pleated tulle, or broderie anglais, cut high in the front, trained in the back. This is a full-on Celine show in every sense. Celine’s hands are twirling; Pepe’s hands are Voguing; Rossy is inexplicably doing scissor kicks…. The models (the lucky ones!) are gliding by in ballet shoes, but the dancing is all going down in the seats. When it ends, Pepe is in tears. Blanca is in heaven. And Celine is saying that next year, if she is on tour in Europe, she will ask to have the whole week of the shows off from performing. “But they won’t let me,” she laughs, “for fear I will spend too much money!” #CelineTakesCouture Photographed by @denisetruscello.
Celine Dion is frustrated by fashion’s current revolving door policy, the relentless firings and hirings at the top (amen to that!). She is concerned that “the dream” of elegance is disappearing, for as much fun as she had in her beloved Vetements Titanic sweatshirt (and we have Law Roach for that brilliant post-ironic gesture!), she believe in the magic of hats, gloves and total looks, of a world in which Lisa Fonssagrives could step from the pages of Vogue and through the doors of today’s Ritz. Mostly she laments the red carpet hordes with the incessant questions about whose clothes and jewels one is wearing. “Mine” is her answer. Fashion is public for Celine; jewelry is personal. Sometimes, when she is at home in Las Vegas and missing her partner Rene, she slips on a caftan and all her jewels, and quietly retreats to her bath, sans children, sans fans, sans circus. #CelineTakesCouture Photo by @sophfei.