French fashion designer Diane de Malherbe translates architecture, history and culture into the intricate embroidery, fabrics and cuts of her designs. Travel to St John’s Co-Cathedral and a Paris chateau to discover the inspiration from these poetic places behind her Caravage and Cocteau collections, and the distinct, detailed workmanship that has shaped them.

From France to Malta, how has your outlook on fashion changed due to your surroundings and lifestyle, and do these always leave a mark on your designs somehow? Living in Malta, surrounded by the feminine style of Maltese women, the serene Mediterranean atmosphere and baroque heritage have, of course, influenced my vision of fashion.  

But as I am still travelling regularly to France for clients, living in Malta has brought me an additional outlook on fashion more than changing it. That mixture between French style and Maltese inspiration offers a unique result that is interesting and different from what we can see in both countries. 

You design fabrics and embroidery patterns from scratch. What is your starting point and what is your trademark? 

To design my fabrics and embroideries, I put together different images of shapes and details of architecture that I love, and by mixing them and redrawing them, I create my own interpretation.  

For example, for the embroidery of the cape of Look 10 from Caravage, I collected pictures of elements from St John’s Co-Cathedral that fascinated me – like the lions, the cotton flower, the birds eating grapes – and then I mixed them to create a new arabesque. 

I have applied that very intricate workmanship onto graphic and minimalist white dresses to keep the outfits wearable, harmonious and modern

I would say my trademark is the use of beautiful fabrics with intricate handwork. It is the fact that I design all the prints and artwork of embroideries by hand. These are then made by hand by incredibly talented embroiderers in India, mixing different shapes and colours of beads to offer the most unique and intricate designs possible. 

Architecture, history and culture play a role in your designs. How and why?

They are all linked and they have always been my major inspiration as they offer infinite ideas of shapes, colours and character that I translate into embroideries, fabrics and cuts. There is also a poésie in the fact that architecture, history and culture can be seen from various angles, offering a variety of interpretations that is so nourishing. 

In the Caravage collection, you pay homage to the 17th-century painter and the pieces hark back to the many cultural and artistic influences that shaped the “mysterious” island, as well as its marine and mineral landscapes. How did you manage to translate the opulence of the great space that is St John’s Co-Cathedral into your clothes, harmonising intricate workmanship with simplicity?

Indeed, I was very inspired by the paintings of Caravaggio, who has created masterpieces in Malta. I have translated his work into the deep colours of my collections: the ruby red, golden saffron, amaranth… St John’s Co-Cathedral has also been my main inspiration. I have translated its magnificence into handmade gold embroideries that reinterpret some of the most beautiful details of the cathedral. I have applied that very intricate workmanship onto graphic and minimalist white dresses to keep the outfits wearable, harmonious and modern. 

When you designed Cocteau, you were living in a French chateau and enjoying its mystical gardens. Tell us more about the place and how it inspired the collection? 

Château de Courances was one hour from Paris, just by one of the most beautiful forests of France, Fontainebleau. In addition to being surrounded by this, the 17th-century castle has a magical park, with gardens that are structured by ponds, fountains, baroque iron gates and mystical statues.  

Caravage

One of my favourite artists and poets, Jean Cocteau, used to live just close by. The lush nature and magical setting were incredibly inspiring, and I tried to translate this into my collection through natural and dreamy colours, poetic shapes and details, and intricate embroideries, featuring birds, leaves and arabesque. 

What do you feel is the piece that embodies that space most? 

Look 10 would be the piece that embodies the space the most, with embroideries featuring ornamental motifs, flowers, leaves and mythological animals, like winged lions and fairy birds. The buttons along the back and the nude underdress complement the feminine feel of this poetic dress.  

How would you, in fact, distinguish between the two collections in terms of structure and fluidity, as a reflection of the places that inspired them? And what do they say about your versatile style? 

Cocteau

The place that inspired me for the Cocteau collection was a dreamy setting with luxurious nature, while  for Caravage, I was inspired by the richness of events and culture that shaped Malta.  

You can feel those differences in the colours that are more dazzling for Caravage, whereas Cocteau has more natural tones; in the shapes that are more graphic for Caravage and more flowy for Cocteau; and lastly in the embroideries, with the Caravage collection inspired by the marine landscape and the baroque architecture, while Cocteau’s are inspired by mystical and dreamlike ornaments. 

What are the elements that unify them and make them distinctly  Diane de Malherbe? 

The two collections are linked and distinctly Diane de Malherbe in that they are both composed of feminine and poetic shapes, with intricate details and versatile elements. The embroideries of both collections are handmade and have many symbols, including astrological signs, or mystical ornaments. The fabrics are soft,  which bring a lot of femininity,  and both collections have versatile elements like adjustable waists and removable embroidered cuffs and collars. 

Who should wear your clothes?

Women of all ages, who want to be elegant, feminine and have a real interest in carrying clothes that are created in a responsible way, with fabrics of high quality and unique craftsmanship.

This article first appeared in Places magazine. Get your copy with The Sunday Times of Malta.