Annie Horth in an Interview for Dress To Kill Magazine 2012

Our music edition would not be complete without including the very woman who brought haute couture fashion to the stage. From editorials, photo shoots, artistic direction, to red carpets, this woman excels in all departments. Here’s a look at our interview with the female pope of ultra-chic style: Annie Horth. 

“Hello! How about we profit from this sunny day by taking a stroll and chatting?” Horth happily propositions.

With imposing jet-black hair, tortoise-shell rimmed glasses, and smoky lenses, Annie Horth has what we call “class”. From her silhouette that screams “chic”– slim jeans/jacket/stilettos– exudes a timeless elegance. Naturally, the dialogue could only start with this question:


Elsa Vecchi:” “What’s really your relationship with clothing, seeing as you dedicate your daily life to dressing others?”

Annie Horth: “I always dress the same way: slim jeans and jackets, both of which abound in my closet, and high heels, even in the country! I will tell you a secret, I seldom buy new clothes and I never follow the trends.”

How did you meet Céline Dion?

In 1996 after a series of two or three failed meetings. It’s finally director Alain DesRochers that facilitated our first encounter for the music video, “L’amour existe encore”. Shortly afterwards, René sought me out for the concert “D’eux” and I remained with her until the end of the ‘90s. In fact, it’s a long relationship that’s had a few interruptions in between. I also worked with Céline for the fifth and last year of her show, “A New Day”, and in 2008 for the concert “Taking Chances”. On that particular occasion, I received the call asking to work with her only one month before the concert was set to begin!”

A stressful project, I imagine?

Surprisingly, no. I was rather ready. Deep within me I had been hoping to land the contract and so I had already began dreaming up all the outfits and even had a few pieces in my “sneaky bag”! Moreover, I had even contacted a few couture houses to test the waters and gauge their interests. One of the contacts was Balmain, which Céline became the first to wear on stage!

What was your idea for the show?

For this particular show I took a direction that was much stronger, more sexy, but always in the context of a fineness, chic, and femininity. For me, femininity is essential.”
For the last show, called “Céline”, that debuted March 15, 2011, things went a little differently. This time around they called you right from the beginning?
Yes, and what a pleasure to be able to dream up everything and have time to create it all before the beginning of the show. For this project I was part of the creative team and participated in the entire evolution of the show.

What was your idea for this show?

I had the idea of styling it chic from another decade, those of the “grand toilette” years, where elegance and femininity ruled, and injected it with a good dose of sex-appeal and, of course, modernity. It’s always a question of balance.

Is this a discussion that you have with Céline?

Yes, Céline is extremely open, but you still have to make thoughtful choices because she likes everything! And everything fits her well with her model-like body. I’ll tell you another secret, the moment that Céline gives you her confidence it all goes very fast from there. Then, it’s time for pleasantries and laughing!

How did you proceed once the style idea came to you?

I scoured the fashion shows in Paris, then in Milan and New York, in search of designers that I thought would fit with the project, such as Givenchy, Armani Privé, Atelier Versace, Elie Saab, Lanvin. I also had to discuss ideas with each designer and, for some of the houses, go through their archives for inspiration.

Styling costumes for the stage, versus styling in the classic fashion sense: are they very different from each other?

Yes! It’s important to adapt haute couture pieces for the stage. In the end, it becomes more of a costuming-designing job. The most important thing in my work is to preserve a sense of realism and modernity throughout everything I do. I am not at all attracted by complicated styles that are gimmicky and give a costume-like look.

Adapt” clothing…?

If you take a piece of clothing from the stage and you pass it in a fashion magazine, you’ll see that it looks nothing like it’s original from the catwalks. Most often, we replace delicate binds with big zippers, or we have completely reworked the piece to be able to take it off quickly. In the course of one show, Céline can change outfits as much as 7 times and she only ever has a few seconds for each costume change. The most important thing is to keep to the visual impact of the piece, but still make it comfortable and easy enough to wear so the artist doesn’t have to think about it throughout the show.

Do designers know these tricks?

Recently, I ran into Elie Saab in Paris. He had absolutely no idea that one of his dresses– made of delicate chiffon– was worn over 50 times throughout the last show. Just imagine how carefully the dress must be maintained! There are two magicians in Vegas called Glynda and Sophia; they have the hands of fairies. Before and after every show they look over each costume down to the smallest detail and repair whatever is necessary on the spot. A snag of the heel, a pleat come undone, boning that’s come out, or missing jewels… nothing is left to chance.

In what way do you feel you have been innovative in your approach to stage styling?

What I wanted with Céline was to bring couture to the stage. Whether or not people are able to recognize the house is not an issue. And if you look closely at the big stars– without mentioning names– today most of them are more quickly undressed than dressed! Let’s just say that I was going for the exact opposite look.

Would you like to work with other singers?

Not particularly, no! I was approached by Jennifer Lopez’s team just before her stint on “American Idol”. I was very flattered, but it wasn’t for me.

Why not?

I’m not the type of stylist that arrives with dozens of racks to impress the client. With Americans stars, especially those in the pop scene, you don’t have any other choice but to do it this way, if not they don’t feel pampered.

Is there any other star in general that you would like to collaborate with?

Actors, maybe; The great ones like Julianne Moore and Cate Blanchett !—

Upcoming release of two new Céline Dion albums in November, 2012.
American album, “Water and a flame”
French album, “Sans attendre”