Gaspard uses memory in an energetic and not a nostalgic way. He is presently developing his own line of clothing and proposes his collections in catalogue form in order to preserve a link, very precious to him, between the clothing and the image.The invitation already had people talking: a limited edition CD entitled "Yurkievich by Herbert", featuring the sounds of hangers being scraped across a rack and high heels shuffling about backstage at a fashion show. The collection itself, presented at the Printemps Haussmann auditorium, renewed certain themes evoked by Gaspard Yurkievich in his previous collections. Unusual manipulations with sleeves were a given: there were elbow length gloves with giant panels (keeping the hands on the hips helps accentuate the effect), kimono-inspired sleeves that tapered at the wrists and were larger than those in the previous collection, and finally double sleeves which allow a dress or top to be worn with long sleeves with little wings at the shoulder or else with short, flared sleeves. New this season are tops with smocking on the sleeves and at the waist. The skirts shown as part of ensembles with a suit jacket or a top are short with dancing handkerchief panels in red tweed or jersey; others were long and asymmetrical, with slits. Pants have a bouffant, zouave-esque form that tapers under the knee and at the ankle, except for several straight models and a suit shown with capri pants. Bustier dresses are still highlighted pieces, this time with a new detail: sequins and rhinestones decorate the "hot spots", namely the thighs, bust and rear. This playful insolence is also seen in the drawstring asymmetrical tops that reveal the breast, the transparent chiffon tops and dresses, sometimes with light prints or long, swinging fringe, or the backless tops that veil the face. The playful, strictly decorative hats of the last collection have evolved into large bowlers or double hats worn one on top of the other.
With his second show, Gaspard Yurkievich has already entered the domain of kings (of fashion), the Carrousel du Louvre. In a cheeky reference to the palace where the biggest names in fashion present their collections, he baptized his line "Court Carré". Gaspard Yurkievich develops an intrinsic relationship with the structure of clothing. Floating ribbons are attached to his skirts and dresses as well as the hems of his short and long pants and bustier dresses. Tunics and kimono jackets feature large open sleeves that resemble wings and cross over the chest. While the skirts are generally long, there are still some short mini dresses. Other models of his little black dresses modestly arrive at the knee. Gaspard Yurkievich also uses panels and cut-outs, plunging tops that are open on the sides and short tunic dresses with draped panels in the back. Dresses and tops in fluid jersey create audacious, asymmetrical, sometimes off the shoulder necklines. Apart from black and white, used monochromatically or in opposition, greyed pastels and subdued shades of orange, Gaspard Yurkievich is one of the rare designers using prints: showers of grey micro-confetti or giant polka-dots on a white background. Decidedly, this is a designer who is affirming his talent.