It was not all bright and beautiful for Paris Couture Week, which took place early this month – at least not at the beginning.
Amid the riots that rocked the city then, there were talks about shows being cancelled. Fortunately the anxiety proved to be for nothing.
Paris went ahead to showcase its head-turning couture. Some of the most prolific fashion houses and designers presented their grand creations on the runway.
The glitz and glamour were as in past couture weeks, but certain novel elements stood out.
One of the talking points was couture for men – despite it being something that has surfaced within the scene for a few years now.
Couture in France is traditionally reserved for women. Male couture is thus still new enough that it raised a few eyebrows during the Autumn/Winter 2023 shows, making headlines.
Read more: History, theatrics and sophistication: Highlights of the SS24 menswear shows
“Men want to dress in haute couture,” said French designer Julien Fournie.
“Those with purchasing power go to London to have a tuxedo or bespoke suit made, which remain classic. But they want fantasy, embroidery, very elaborate leather pieces.”
US designer Thom Browne did include them though, with both genders present for his debut live couture show in Paris. There were well-cut suits and futuristic coats spotted on the runway, worn by male and female models.
Charles De Vilmorin (from France), George Hobeika (Lebanon) and Ronald Van Der Kemp (the Netherlands) showed male looks too.
Nevertheless, the talk among industry insiders indicate that change is slow. A full week of men’s couture shows in Paris is unlikely to happen anytime soon.
Beyond the ordinary
As it is the norm with couture, outlandish designs ruled the runways of known fashion houses. These were meant to spark conversation and generate buzz – seen as more art than fashion.
Schiaparelli’s designs were nothing if not a fantasy. The show notes described the collection as “an impossible wardrobe”.
A number of models sported necks and torsos painted blue. There were also elaborate outfits featuring wooden beaded arms for a surrealist effect.
To note, Schiaparelli caused a stir last season for incorporating fake animal heads into dresses. They drew criticisms, with detractors saying that the act can only serve to promote and glorify wildlife hunting.
Viktor & Rolf, another fashion house that often pushes the boundaries of design, showed couture bathing suits this time around.
These were embellished to the maximum with ruffles and bows, as well as three-dimensional constructions of words and phrases jutting out from shoulders.
The showstoppers were looks incorporating headless mannequins, which clung on models in a macabre way.
Balenciaga unveiled slinky, soft gowns for this season, but also included a well-structured armour dress.
The metallic construction closed the show. It is a CAD (computer-aided design), 3D-printed in galvanised resin and polished in chrome, with a coating of black bands along the interior to resemble a jewellery box.
But still wearable
Practical designs were aplenty though. Valentino for instance, sent out dresses and tunics for women featuring soft draping. Men wore loose, casually chic jackets and suits.
There were still the addition of showmanship. One being a headpiece (pictured on the cover) resembling a pretty flower in full bloom.
“Simplicity is complexity resolved,” creative director Pierpaolo Piccioli told the media during the press conference.
He was quoting the late Constantin Brancusi, a Romanian artist whose sculptures embody restrained and pure elegance.
Mohammed Ashi, who became the first Saudi designer to present at Paris Couture Week, sent out models wearing romantic and sensual designs.
He looked to Patrick Suskind’s novel Perfume for inspiration. This book tells the story of an unloved orphan in 18th-century France who was born with an exceptional sense of smell.
“The dark romance of that novel attracted and pushed me,” Mohammed Ashi explained to Vogue. “The collection is about extracting beauty from deep inside to the outside.”
Soft origami folds of fabric lent a certain magical quality to his creations. The careful use of embroidery, beading and copper threads further worked to strengthen the enchanting looks.
Other couture stalwarts like Dior and Chanel also went the minimal route.
Dior’s show was rather calming. Sixty-six models walked the runway, wearing designs of largely neutral colours. The collection can probably be best described as classic yet modern. It gave off a timeless chic vibe.
Read more: With the riots having died down, Paris shows its opulent side with couture
Chanel’s presentation had more grandeuer.
It took place on the riverbank of the Seine. The models marched over cobblestone, with the Eiffel Tower seen in the far background.
“Since we’re doing it outside, I wanted it to feel simple but elegant,” creative director Virginie Viard told Women’s Wear Daily before the show.
As for the designs, they represented Paris in all its glory: rich, insouciant and chic.
This, of course, was a stark contrast to the weeks before the couture shows began.
The message was clear – there is no stopping couture where the city was concerned. After all, Paris is indeed the birthplace of couture.
Already a subscriber? Log in
Get 20% OFF The Star Digital Access
Cancel anytime. Ad-free. Unlimited access with perks.
