Under the skirts of Audrey Fleurot

audrey fleurot
audrey fleurot
audrey fleurot
audrey fleurot
audrey fleurot
audrey fleurot
audrey fleurot
audrey fleurot

Photos : Michèle Bloch Stuckens for ALL.I.C. and Delphine Royer

Chapter 9

The secrets of Haute Couture Outfits: under the skirts of Audrey Fleurot

Many things have been said about actress Audrey Fleurot. Everyone knows her talent, she is a stage actress, a film actress, a popular artist, in short an icon of the small and big screen, an energy and a passionate above all.
But for me Audrey Fleurot is not only that…

One day, a few years ago, thanks to the intermediary of a seasoned film stylist, Audrey walked through the door of my studio. We were all waiting for her… There, like a ray of sunshine, she filled the space with warmth and kindness, smiling and sincere. She spent time with Mrs. Jacqueline, my first of Workshop, to touch materials, understand sewing techniques…

That day, as with all our Haute Couture clients, she took measurements. She is a very feminine and ultimately very fragile figure, but also athletic.
Afterwards, we went to the salon and she explained to me her love for clothing.

This young woman has as much fun playing roles in movies as she does being multifaceted in real life. She agrees with me: “clothing is a non-verbal message”.

Gothic sparklE

So yes, Audrey is a Hollywood diva a Jessica Rabbit, redheaded and luscious. The next day, she’s an elegant Parisian with a red mouth and then, one evening, she’s a gothic sparkle, a real witch of Eastwick. For a photo series, she can even be an empress. But on a daily basis, Audrey is a boyish girl.

Audrey Fleurot dressed in Julien Fournié in the movie La fête des Meres

President of the French Republic

I had the chance to dress Audrey for the first time for “La Fête des Mères”, a film by Marie Castille Mention-Schaar. In an incredible ball gown of scarab and midnight blue lurex jacquard from the Première Nuit collection, for a big reception scene, Mademoiselle Fleurot played the President of the French Republic. In this film, she wore exclusively outfits from the House of Julien Fournié.

At the request of ALL.I.C Magazine, Audrey played the photo model game with me for the first time, under the watchful eye of Michèle Bloch Stuckens.

I had just finished First Crime, my “Vertigo” collection, a tribute to Alfred Hitchcock, and it was a revelation. Audrey is at the same time Marnie in a red silk dress, Tippi in a night powder grain suit, but also Grace in a black faille dress, languid.

Audrey is however not a Hitchcockian victim. So, it will take a claw in this photo series. With a look of Parisian bobo disheveled, wearing a leopard print leather panther dress, or, a bit of a duck feathered casserole, in a silk crepe pajama suit with washed silk trench.

The night before a shoot for the First Spell collection with Delphine Royer, we call her one night very late, begging her to come by the set, just to take a picture. And, in her deep voice, she answered me: “you can count on me commies”.

Mysterious and dangerous

The next day at 2pm sharp, having just arrived from a shoot, she is beaming, getting off her scooter. She falls into the hands of my team of “coif-mac”. Notched hair, disheveled, relaqué, sublimely made up, she jumps in the frame, dressed in a trench oversize Corto Maltese mutated in Jack Sparrow. And when Michaëlla Tomanova and Evgeniya Sycheva join her, she is transformed into one of the Witches of Eastwick, in her mauve blouse, embroidered with crystal tulle, mysterious and dangerous.

With Paul Anderson and Sébastien Roché in Tartuffe by Gérald Garutti

In Gérald Garutti’s Tartuffe, performed in London, she appears in a gold lacquered strech sheath.

For the César, there was no alternative. Adorned with another sheath in emerald green lacquered silk jersey, she will give a César, like a “Poison Ivy”. She burns everything in her path, hypnotizing. I have the chance to be her date at this party. We had a lot of laughs.

Audrey Fleurot and Julien Fournié backstage at the César

For the launch of the series Les Combattantes, she puts on the white 1940s trench coat from the First Manifesto collection. She is an angel under the eye of Thomas Braut.

Finally, despite all the stylistic possibilities, we do not admire a toilet on her, we look at Audrey. The only costume she never takes off is her elegance and kindness. Thank you Audrey.

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