In one of Paris’ most prestigious gardens, Jérôme L’Huillier’s boutique sparkles and shines. In this colorful and artistic Bohemian universe, the architect of materials and colors finds himself going back to the 60s and 70s, making for a sensual, feminine, and sunny happiness.
Pioneer of Paris’ Palais Royal, Jérôme L’Huillier, in 1995, became the first designer to install himself in the building’s splendid gardens, since become the epicenter of on-point Parisian fashions. Master sculptor of cloth, he never fails to find the exact equilibrium that perfectly poeticizes the female silhouette. Far from designing a constraining phantom straitjacket, he sketches evanescent veils for a free, independent, even rebellious woman. Without falling into temporary trends and fleeting fashion fads, he creates a unique and linear style with a strong and powerful discourse. With discretion and elegance, inventiveness and heritage, his aesthetic is marked by originality and timeless distinction. Nonconformity and individuality are indeed for him the very assets of beauty itself. He calls it “frivolous glamour”, making for a sensual and light woman.
Like reflections of his spirit, his fabrics are fluid and ethereal, aerial silks and celestial chiffons. His usage of angles allows him to obtain a “deconstructed effect on something constructed”, he himself says. Certified by the Chambre Syndicale de la Couture, he was first initiated to the art of cuts and volumes at Givenchy and Balmain. Beyond his genius in this line, Jérôme L’Huillier also proves his worth through a singular visual space. Frank and shining colors, from coral to hot pink, organize themselves around prints inspired by psychedelic motifs. The designer claims that this universe is a tender memory from childhood: “because my childhood eye was filled with colors and prints from the 70s, (…) the era of flashy colors, liberty, gaiety, and lightness. A period of carelessness and perfect happiness. I evolved in this very stimulating universe during this unique period,” he explains.
Placing himself at the margins of the system, L’Huillier swears by discretion in the media, evaluating his work and his success only through the satisfaction he gets from his privileged clients. Whether it be Beth Ditto, Laeticia Casta, Maria de Medeiros, or Isabelle Hupper, the designer seems to be able to dress up any and every woman with his brilliant and magnificent creations. Just like his famous polo dresses with graphic imprint ensembles and “liquid” drapings, the designer has always offered a garment rich in history and exoticism, with a very contemporary aesthetic rigor.
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