Stéphane Rolland on his first RTW knitwear collection: 'Knitwear is a product in tune with the times'

Since its inception in 2007, the Stéphane Rolland Haute Couture house has balanced growing production with a loyal clientele. Beyond Haute Couture, however, the brand's two directors, Pierre Martinez and Stéphane Rolland, have also been developing other collections, expanding its reach through bridal, jewellery and evening ready-to-wear. This offering is set to grow event more for the autumn/winter 2025/26 season through the introduction of knitwear, under the title 'La Maille 1' (or The Knit 1), which is being presented to buyers in the house's showroom (Paris 17th arrondissement) from 21 to 31 January 2025.

What can you tell us about 'La Maille 1', your first knitwear collection?

This first collection comprises around ten long and mid-length dress styles, suitable for daytime and evening occasions. It is crafted from knitted wool, wool/cashmere blends, viscose, and lurex. The lines of the silhouettes, whether fitted or more flowing, represent the DNA of the Stéphane Rolland house. The graphic elements and movement are still present. I have always worked on my dresses as I draw them, with sweeping gestures and lines that evoke brushstrokes, to give the impression that the dresses move on their own. They have movement, momentum, a kind of life. That's why people say my fashion is sculptural and architectural.

In ready-to-wear, it’s difficult to capture this movement, which is what I’m trying to achieve with the amplitude of a wide sleeve, cinched at the wrist. I play with ergonomics. I've always been fascinated by Japanese architecture and the cuts of oriental kaftans, which are strangely reminiscent of the kimono.

Could you describe a few of the pieces?

The 'Beautiful Dream' dress, a sheath dress with batwing sleeves, a V-neck, and adorned with a ribbed knit panel, evokes a sexy woman. The more urban side is represented by 'Dream River', a large, highly graphic jumper dress. And for evening, there’s 'Sweet Dream', a midi-length lurex dress with sunray pleated sleeves.

Where is this collection manufactured?

The story, as always with me, is one of an encounter. In this case, with Venetian knitters in Italy. They offered me some materials, and I created this first knitwear collection with a great deal of humility and by truly listening. Even though certain techniques are evolving with technological advancements, they are ancestral and so perfected that they endure. There aren't 36 different methods for achieving particular stitches.

Beyond the quality of their work, they demonstrate a great open-mindedness which fuels creativity and expands the scope of possibilities. With them, nothing is impossible, which is wonderful for an artist. We spent time at the factory, which has years of samples. They have worked with the biggest names in the industry. I first looked at what already existed, before saying: "I'm going to create something different."

I sketch, give them measurements, and then, together, we develop and refine. They are so professional that I didn't have to make return trips to Venice (even though I adore Venice). The assembly is in one piece and uses a linking technique. It has nothing to do with conventional ready-to-wear. I compare this technique to 3D printing where you see your product gradually taking shape. It's an incredible feat of ergonomic design.

Did this knitwear collection arise from a demand from your clientele?

I had worked with knitwear in the past, but here, it’s pure desire. Today, we are all nomads. Having garments that don't crease, especially in suitcases, that are comfortable to wear, elegant, and sexy is important. From this perspective, knitwear is a very contemporary product.

Had you never used knitwear in Haute Couture?

Yes, I have, but it's very different. Knitting a unique piece for a client is technically a nightmare because of the extensive machine set-up required for sizing. Today's Couture clients don't have the time. It’s very rare for them to make more than two trips for fittings. 3D technology could make things easier, but it wouldn't speed up the process.

Do you use artificial intelligence?

Not at all. I find it extraordinary, but for artistic purposes, it frightens me. It can make one extremely lazy.

At what price is 'La Maille 1' being sold?

Between 1,050 and 2,025 pounds. The collection will be sold B2B and B2C. The showroom will function as a showroom boutique.

Where will you be stocked?

That's what we're going to find out. I'm targeting elite multi-brand retailers. Currently, we are stocked, for example, at Bergdorf Goodman (New York), Étoile (Dubai, Jeddah, Riyadh), Al Othman in the Middle East, and Stivali in Portugal. We don't have any retailers in France.

I won't be opening a Stéphane Rolland boutique. I would be delighted to design one, but economically, today it represents a significant overhead. We are in an uncertain period, which doesn’t make having our own store appealing. I have an investment partner who doesn’t interfere in the management of the company, but I don't have a large group backing me. I have the fragility, agility, and freedom of an independent house. I’m 100 percent the decision-maker. We operate with an extremely rigorous economic policy. A pop-up, however, isn't an improbable idea.

Do you sell online?

We aren't very developed digitally. I'm not equipped to develop this technology. My jewellery collection must be purchased in the showroom so that the product can be explained to the client. I want this proximity and to recapture the idea of advising the client personally.

Aside from the nomadic and affluent clientele you cater to, you have pledged your support to adolescents and their uncertainties through the Fondation des Hôpitaux*?

I did this with Pierre Martinez, who co-directs the Stéphane Rolland house. A designer cannot be alone. The aim is the desire to share, to pass on what we are fortunate enough to know, what we have learned. So that it’s not in vain. We want today’s adolescents to be our spiritual successors. Through the Fondation des Hôpitaux, we are working with young people at the Maison des Adolescents in Blois**. The idea is to open up possibilities for them. Too often, they have no prospects.

Through this initiative, or your two-time presidency at the Dinan Festival, is there a desire to stay in touch with the reality of working-class people?

I've always kept my feet on the ground, but my life is 90 percent work. I don't have much time to go out. I'm leaving for Cairo for a huge wedding, where I'll be giving a masterclass. We are preparing for the house's 20th anniversary. We are planning shows a year and a half in advance. In addition, I personally attend to each client.

I have around 40 people under my responsibility and, as an artist, I’m sensitive to what happens to them. The same goes for Pierre Martinez, who stages my shows. We are receptive to everything our team experiences and goes through.

In this overbooked context, is the development of a knitwear line economically driven?

We don't know what tomorrow will bring. The future of Haute Couture has its uncertainties. You should never depend on a single product. And besides, I love to create. It’s the blood that flows through my veins. I am here to create.

What about the upcoming spring/summer 2025 Haute Couture show?

We have chosen to pay tribute to Josephine Baker. It ties in with everything we are currently doing for children: sharing and passing on knowledge. I love women with character. As a child, I was fascinated by Marlene Dietrich and Greta Garbo.

*Fondation des Hôpitaux: Since its creation in 1989, the Fondation des Hôpitaux has supported health and social care institutions by backing their projects aimed at improving the daily lives of the most vulnerable.

**The Maison Stéphane Rolland supports the Maison des Adolescents de Blois (MDA), a centre for teenagers supported by the Foundation. It offers them an immersion in the world of couture: visits to exhibitions, fashion shows, meetings with influencers, photo shoots, etc.

This article originally appeared on FashionUnited.FR. It was translated to English using AI and edited by Rachel Douglass.

FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com