AN UNPUBLISHED DRAMA.

I.

ROME.—A Hall in a Palace. ALESSANDRA and CASTIGLIONE

Alessandra.     Thou art sad, Castiglione.

Castiglione.    Sad!—not I.
                Oh, I’m the happiest, happiest man in Rome!
                A few days more, thou knowest, my Alessandra,
                Will make thee mine. Oh, I am very happy!

Aless.          Methinks thou hast a singular way of showing
                Thy happiness—what ails thee, cousin of mine?
                Why didst thou sigh so deeply?

Cas.            Did I sigh?
                I was not conscious of it. It is a fashion,
                A silly—a most silly fashion I have
                When I am very happy. Did I sigh? (sighing.)

Aless.          Thou didst. Thou art not well. Thou hast indulged
                Too much of late, and I am vexed to see it.
                Late hours and wine, Castiglione,—these
                Will ruin thee! thou art already altered—
                Thy looks are haggard—nothing so wears away
                The constitution as late hours and wine.

Cas. (musing ). Nothing, fair cousin, nothing—
                Not even deep sorrow—
                Wears it away like evil hours and wine.
                I will amend.

Aless.          Do it! I would have thee drop
                Thy riotous company, too—fellows low born
                Ill suit the like of old Di Broglio’s heir
                And Alessandra’s husband.

Cas.            I will drop them.

Aless.          Thou wilt—thou must. Attend thou also more
                To thy dress and equipage—they are over plain
                For thy lofty rank and fashion—much depends
                Upon appearances.

Cas.            I’ll see to it.

Aless.          Then see to it!—pay more attention, sir,
                To a becoming carriage—much thou wantest
                In dignity.

Cas.            Much, much, oh, much I want
                In proper dignity.

Aless.
(haughtily).     Thou mockest me, sir!

Cos.
(abstractedly).  Sweet, gentle Lalage!

Aless.          Heard I aright?
                I speak to him—he speaks of Lalage?
                Sir Count!
       (places her hand on his shoulder)
                           what art thou dreaming?
                He’s not well!
                What ails thee, sir?

Cas.(starting). Cousin! fair cousin!—madam!
                I crave thy pardon—indeed I am not well—
                Your hand from off my shoulder, if you please.
                This air is most oppressive!—Madam—the Duke!

Enter Di Broglio.

Di Broglio.     My son, I’ve news for thee!—hey!
              —what’s the matter?
        (observing Alessandra).
                I’ the pouts? Kiss her, Castiglione! kiss her,
                You dog! and make it up, I say, this minute!
                I’ve news for you both. Politian is expected
                Hourly in Rome—Politian, Earl of Leicester!
                We’ll have him at the wedding. ’Tis his first visit
                To the imperial city.

Aless.          What! Politian
                Of Britain, Earl of Leicester?

Di Brog.        The same, my love.
                We’ll have him at the wedding. A man quite young
                In years, but gray in fame. I have not seen him,
                But Rumor speaks of him as of a prodigy
                Pre-eminent in arts, and arms, and wealth,
                And high descent. We’ll have him at the wedding.

Aless.          I have heard much of this Politian.
                Gay, volatile and giddy—is he not,
                And little given to thinking?

Di Brog.        Far from it, love.
                No branch, they say, of all philosophy
                So deep abstruse he has not mastered it.
                Learned as few are learned.

Aless.          ’Tis very strange!
                I have known men have seen Politian
                And sought his company. They speak of him
                As of one who entered madly into life,
                Drinking the cup of pleasure to the dregs.

Cas.            Ridiculous! Now I have seen Politian
                And know him well—nor learned nor mirthful he.
                He is a dreamer, and shut out
                From common passions.

Di Brog.        Children, we disagree.
                Let us go forth and taste the fragrant air
                Of the garden. Did I dream, or did I hear
                Politian was a melancholy man?

                (Exeunt.)




II.

ROME.—A Lady’s Apartment, with a window open and looking into a garden.
LALAGE, in deep mourning, reading at a table on which lie some books and
a hand-mirror. In the background JACINTA (a servant maid) leans
carelessly upon a chair.


Lalage.         Jacinta! is it thou?

Jacinta
(pertly).        Yes, ma’am, I’m here.

Lal.            I did not know, Jacinta, you were in waiting.
                Sit down!—let not my presence trouble you—
                Sit down!—for I am humble, most humble.

Jac. (aside).   ’Tis time.

(Jacinta seats herself in a side-long manner upon the chair, resting
her elbows upon the back, and regarding her mistress with a contemptuous
look. Lalage continues to read.)

Lal.            “It in another climate, so he said,
                Bore a bright golden flower, but not i’ this soil!”

         (pauses—turns over some leaves and resumes.)

                “No lingering winters there, nor snow, nor shower—
                But Ocean ever to refresh mankind
                Breathes the shrill spirit of the western wind”
                Oh, beautiful!—most beautiful!—how like
                To what my fevered soul doth dream of Heaven!
                O happy land! (pauses) She died!—the maiden died!
                O still more happy maiden who couldst die!
                Jacinta!

        (Jacinta returns no answer, and Lalage presently resumes.)

                Again!—a similar tale
                Told of a beauteous dame beyond the sea!
                Thus speaketh one Ferdinand in the words of the play—
                “She died full young”—one Bossola answers him—
                “I think not so—her infelicity
                Seemed to have years too many”—Ah, luckless lady!
                Jacinta! (still no answer.)
                Here’s a far sterner story—
                But like—oh, very like in its despair—
                Of that Egyptian queen, winning so easily
                A thousand hearts—losing at length her own.
                She died. Thus endeth the history—and her maids
                Lean over her and keep—two gentle maids
                With gentle names—Eiros and Charmion!
                Rainbow and Dove!—Jacinta!

Jac.
(pettishly).    Madam, what is it?

Lal.            Wilt thou, my good Jacinta, be so kind
                As go down in the library and bring me
                The Holy Evangelists?

Jac.            Pshaw!

                (Exit)

Lal.            If there be balm
                For the wounded spirit in Gilead, it is there!
                Dew in the night time of my bitter trouble
                Will there be found—”dew sweeter far than that
                Which hangs like chains of pearl on Hermo

Shortly after 3pm on September 29, 31-year-old Olivier Rousteing strode through the shimmering, fleshy backstage area at Balmain's Spring 2017 Paris Fashion Week show. Along the marble hallway of a hôtel particulier in the 8th arrondissement, long-limbed clusters of supermodels were gamely tolerating final applications of leg-moisturiser, make-up touch-ups and minutely precise hair interventions from squads of specialists as fast and accurate as any Formula 1 pit-stop team. The crowd parted as Rousteing swept through.

Wearing a belted, black silk tuxedo and a focused expression that accentuated his razor-sharp cheekbones, Rousteing resembled a sensuous hit man. Target identified, he led us to the board upon which photographs of every outfit were tacked.

We asked him to tell us about the collection (for that's what fashion editors always ask). "There is no theme," said Rou­steing in his fast, French-accented lilt. "No inspiration from travel or time. The inspiration is what I feel, and what I feel now is peace, light and serenity. I feel like in my six years here before this, I have tried to fight so many battles. Because there is no point anymore in fighting about boundaries and limits in fashion. Balmain has its place in fashion."

And the clothes? "There is a lot of fluidity. A lot of knitwear, lightness, ponchos. No body-con dresses. But whatever I do, even if I cover up my girls, it is like people can say I am ******. So this is what it is. I think there is nothing ******. I think it is really chic. I think it is really French. It is how I see Paris. And I have had too many haters during the last three years to defend myself again. So, this is Balmain." And then the show began.

Star endorsements

Under Rousteing, Balmain has become the most controversial fashion house in Paris. Rousteing has attracted (but not bought, as other, far bigger houses do) patronage from contemporary culture's most significant influencers. Rihanna, all the Kardashians, Kanye West, Taylor Swift, Miley Cyrus, Beyoncé, Justin Bieber – a royal flush of modern celebrity aristocracy – all champion him.

Immediately after this show, in that backstage hubbub, Kim Kardashian told me: "I thought it was very powerful…I loved the sequins, and I loved all the big chain mail belts – that was probably my favourite."

Yet for every famous fan there is a member of the fashion establishment who will sniff over coffee in Le Castiglione that Rousteing's crowd is declassé and his aesthetic best described by that V-word. The New York Times' fashion critic Vanessa Friedman reckoned this collection appropriate for "dressing for the captain's dinners on a cruise ship to Fantasy Island". At least she did not use the V-word. When I once deployed it – as a compliment – in a 2015 Vogue menswear review that declared "Rousteing is confidently negotiating a fine line between extravagance and vulgarity", I was told that Rous­teing was aggrieved.

The fashion world's ambivalence towards Rousteing is a measure of its conflicted feelings towards much in contemporary culture. Last year Robin Givhan of the Washington Post wrote of Balmain: "The French fashion house is always ostentatious and sometimes ******. It feeds a voracious appetite for attention. It is anti-intellectual. Antagonistic. Emotional. It is shocking. It is perfect for this era of social media, which means it is powerfully, undeniably relevant."

Since joining Instagram four years ago Rousteing has posted 4000 images and won 4 million followers. The combined reach of his audience members and models at this Balmain show was greater than the population of Britain and France combined. Balmain was the first French fashion house to gain more than 1 million followers, and currently has 5.5 million of them.

Loving his haters

As digital technology disrupts fashion, Balmain's seemingly effortless mastery of the medium galls some. Last year, the designer posted an image of a comment from a ****** follower to his feed. It read: "Olivier Rousteing spends more times taking selfies for Instagram than designing clothes for Balmain." Underneath, in block capitals, he commented "i love my haters".

Rousteing can be funny and flip – doing a video interview after the show, I opened by asking, tritely, how he felt. He replied: "Now I feel like some Chicken McNuggets with barbecue sauce, and then some M&M;'s ice cream."

When at work, however, that flipness flips to entirely unflip. The previous evening, at a final fitting for the collection, Rousteing had paced his studio, his face a scowl of concentration, applying final edits to the outfits to be worn by models Doutzen Kroes and Alessandra Ambrosio. The 30-strong team of couturiers working in the adjoining atelier delivered a steady stream of altered dresses.

"We are ready," he said from behind a glass desk in a rare moment of downtime. "This a big show – 80 looks – and I want a collection that is full of both the commercial and couture. But it's smooth too. All of the girls are excited about the after-party and interested in the music. And eating pizza." In the corridor outside Gigi Hadid – this season's apex supermodel – was indeed eating pizza, with gusto.

The fitting went on until far beyond midnight; Rousteing, fiercely focused, demonstrated the work ethic for which he is famous. When he was studio manager for Christophe Decarnin, his predecessor at Balmain, the young then-unknown was always the first in and last out of the studio. Emmanuel Diemoz, who joined Balmain as finance controller in 2001 and became chief executive in 2011, says that his hard graft was one of the reasons he was chosen to succeed Decarnin.

"For sure it was quite a gamble," says Diemoz. "But we could see the talent of Olivier. Plus he understood the work of Christophe – who had helped the brand recover – so he represented continuity. He was a hard worker, clearly a leader, with a lot of creativity. Plus the size of the turnover at that time was not so huge. So we were able to take the risk."

Clear leader

Which is why, aged 24, Rousteing became the creative director of one of Paris's best known – but indubitably faded – fashion houses. In 2004 it had been close to bankruptcy. In 2012, Rousteing's first full year in charge, Balmain's sales were €30.4 million and its profit €3.1 million. In 2015, sales were €121.5 million and its profit €33 million. Vulgarity is subjective; numbers are not.

Rousteing, who is of mixed race, was adopted at five months by white parents and enjoyed an affluent and loving upbringing in Bordeaux. "My mum is an optician and my dad was running the port. They are both really scientific – not artistic. So I had that kind of life. Bordeaux is really bourgeois and really conservative, I have to say."

After an ill-starred three-month stint at law school – "I was doing international law. And I was like, 'oh my God, that is so boring'" – he did a fashion course that he managed to tolerate for five months.

"I found that really boring as well. I just don't like actually people who are trying to **** your dream. And I felt that is what my teachers were trying to do."

Obsessed with Gucci

Following a three-month internship in Rome – "also boring" – Rousteing became fascinated with Tom Ford's work at Gucci. "I was obsessed, obsessed, obsessed. Sometimes the press did not get it but I thought 'this is like genius, the new **** chic'. Obsessed, full stop."

He wanted to work there – "that was my dream" – but applied to every fashion house he could, and found an opportunity to intern at Roberto Cavalli. "They took me in from the beginning. I met Peter Dundas [then womenswear designer at the brand] and he said you are going to be my right hand – and start in four days."

Rousteing counts his five years in Italy as formative both creatively and commercially, but when the opportunity came to return to France in 2009 he leapt at it. "Christophe said he liked my work and that he needed someone to manage the studio. So two weeks later I was here. I loved Balmain at the time, when Christophe was in charge. It was all about rock 'n' roll chic, ****, Parisian. And he was appealing to a younger generation. You can see when brands become old but Balmain was touching this new audience. I always say Christophe's Balmain was Kate Moss but mine is Rihanna."

When Decarnin left and Rousteing replaced him, the response was a resounding "who?". His youth prompted some to anticipate failure.

"It was not easy at all. Every season I had the same questions." Furthermore, Rousteing (who has said he thinks of himself as neither black nor white) was the only non-white chief designer at a Parisian couture house. In a nation in which very few people of colour hold senior positions, his race may have contributed both to the establishment's suspicion of him and to his powerful sense of being an outsider.

'Beautiful spirit'

As he began to build a personal vernacular of close-fitted, heavily jewelled, gleefully grandiose menswear – fantastical uniform for a Rousteing-imagined gilded age – for both women and men, that V-word loomed.

"They asked, 'But is it luxury? Is it chic? Is it modern?' All those kinds of words. But you know there is no one definition [of fashion] even if people in Paris think there is. And, I'm sorry, but I think the crowd in fashion are those who understand the least what is avant-garde today."

In 2013 Rihanna visited the studio, met Rousteing, and reported all with multiple Instagram posts. "You are the most beautiful spirit, so down to earth and kind! @olivier_rousteing I think I'm in love!!! #Balmain." :')"

Rousteing met Kim Kardashian at a party in New York – they were drawn together, he recalls, because they were both shy – and was promptly invited to lunch with her family in Los Angeles.

An outsider in the firmament of old-guard Paris fashion, Rousteing was earning insider status within a new, and much more influential, supranational elite. He points out that Valentino, Saint Laurent and Pierre Balmain himself "were close to the jet set of their time. What I have on my front row is the people who inspire my generation".

From them, he learned a new way of doing business. "I think it was Rihanna and the music industry that first understood how Instagram can be part of the business world as well as the personal. But in fashion? When we started it was 'why do you post selfies? Why do we need to know your life, see you waking up, see you working? Why don't you keep it private'. And I was like 'you will see'."

Rousteing cheerfully declares his love for Facetune – "I don't have Botox but I do have digital Botox!" – an app that helps him airbrush his selfies and tweak those ski-***** cheekbones.

Reaching new population

From his office around the corner from Rousteing's, Diemoz adds: "When Olivier first proposed Balmain use social media, our investment in traditional media was costing a lot. Here was an alternative costing less but bringing huge visibility. It has been successful, quite rapidly…we decided to be less Parisian in a way but to speak to a new population. A brand has to be built around its heritage but we are proposing a new form of communication dedicated to a wider group of customers."

The impact of that strategy became apparent in 2015, when Rousteing and Balmain were invited to design a collection for the Swedish fast-fashion retailer H&M.; Within minutes of going on sale – and this is not hyperbole – the collection, available at vastly cheaper prices than Balmain-proper, had completely sold out. In London, customers fought on the pavement outside H&M;'s Regent Street branch. "Balmainia!" blared the headlines.

You have to move fast to get backstage after a Balmain show. I was out of my seat and trotting with purpose even before the string-heavy orchestra at the end of the catwalk had quite stopped playing Adele.

Rousteing had taken his bow merely seconds before. Still, too slow: I ended up in a clot of Rousteing well-wishers stuck in a corridor blocked by security guards. A Middle Eastern woman against whom I was indelicately jammed looked at me, laughed, shook her head, then said: "We pay millions for a fashion house – and then this happens!"

In June, Balmain was bought for a reported €485 million by Mayhoola, a Qatar-based wealth fund said to be controlled by the nation's ruling family. As so often with Rousteing-related revelations, some declared themselves nonplussed. "Why Would Mayhoola Pay Such a High Price for Balmain?", one headline asked. Yet Mayhoola, which acquired Valentino four years previously for $US858 million, might have scored a bargain.

Clothes key to revenue

Despite its huge, Instagram-enhanc­ed footprint, Balmain is a small, lean and relatively undeveloped business. Most luxury fashion houses today – Chanel, Burberry, Dior, et al – will emphasise their catwalk collections for marketing purposes but make most of their money from the sale of accessories, fragrances and small leather goods like handbags and shoes. One of the big fashion companies makes a mere 5 per cent from its catwalk clothes.

At Balmain, by contrast, clothes bring in almost all the revenues. If Balmain had the same clothes-to-accessories ratio as its competitors, its overall annual income could be more than €1 billion ($1.4 billion).

The company is moving in that direction. New accessory lines are in the pipeline. "Now we have to transform that desire into business activity," said Diemoz. "Sunglasses, belts, fragrances, the kind of products that can be more affordable."

The first bags should be available in January, as will a wider range of shoes, and then more, more, more.

Six days after his show, on the last day of Paris Fashion Week, I returned to the Balmain atelier. Apart from two assistants, Rousteing was the only person there – everybody else had gone on holiday to recover from the frenzy of preparing the show, or was busy selling the collection at the showroom around the corner.

Rousteing sat behind his desk in the empty room, wearing slingback leopard-print slippers, sweatpants and shades. "I am not even tired! I am excited. Because there are so many things happening – and I can't wait."Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/formal-dresses-adelaide