A few days before the first round of early elections in France, a certain anxiety is felt before the results. There are also the Olympic Games, preparations for which are accelerating, and the European Football Championship, where the national team has qualified for the round of 16.
It is therefore not surprising that sport is at the heart of fashion designers' concerns. If the two industries have one thing in common, it is that of providing a feeling of escape and hope. Call it cognitive dissonance, but in a time of great uncertainty, both industries can provide a welcome distraction from what lies ahead, by captivating and telling stories of incredible human skill.
And when it comes to the craftsmanship of clothing, nowhere is this more visible than at Paris Haute Couture Week, where ultra-luxury customers, the biggest spenders during the industry's downturn , gather to see the latest news. expertise offered by some of the most prestigious houses in the world. For these reasons, couture has never been more vital, says Pascal Morand, executive president of the Fédération de la Haute Couture et de la Mode. [creates] an atmosphere where creativity can flourish and embodies a positive dynamic for Paris.
The fall/winter 2024 calendar was light on newcomers and missing notable regulars like Fendi and Valentino, which are undergoing executive and creative reshuffles, respectively. But there was plenty to like, starting with Schiaparelli, which kicked off the season on Monday.
Gold-plated brass, rhinestone, silver-tone metal and sequin decorations sparkled as models slowly zigzagged through the dark, chandelier-lit room, making eye contact with guests including Kylie Jenner and Gossip Girl actor Kelly Rutherford. It was about getting as close to the audience as possible, Texas-born designer Daniel Roseberry explained after the show.
Roseberry, who has proven herself to have a knack for reinvention, much like house founder Elsa Schiaparelli, drew inspiration from the feathered look she wore in the 1940s, in homage to the late ballerina Anna Pavlova and her iconic Dying Swan performance. The Phoenix, as the collection was called, opened with a black velvet cape with chrome embroidery that made the model appear enveloped in metallic wings.
There were other animalistic ensembles too, like a zebra-print cape and sheer bodices with little pointy horns. But unlike previous seasons, which included a robot baby and a lion-headed dress, this collection moved away from the gimmick. I didn't want people to talk about anything other than clothing mastery. It was really the benchmark for this season. No tricks, Roseberry said. The interest in social media, to be honest, right now, is so low that I wanted to do something that felt more timeless.
Thom Browne’s second couture collection was a masterclass in construction and layering. The Pennsylvania-born showman often stages elaborate shows in New York, featuring garments that draw on couture techniques. So when he presented his first couture show in Paris in July 2023, it felt earned.
With the exception of closing jackets in bronze, silver and gold, his second couture collection was primarily ecru, made from varying weights of natural muslin, a material often used by designers to produce canvases or clothing samples. This forced viewers to focus on the finer details of the garments, which were full of Olympic references, including embroidered figures of archers, wrestlers and other athletes. There were even spiked track shoes, inspired by the idea of runners on the starting line.
What are the odds that both winners of Paris Couture Week, Daniel Roseberry and Thom Browne, are both American? The United States also has the most Olympic medals to date. Think of it any way you like.
Sport was also at the heart of Maria Grazia Chiuri, whose penchant for artist collaborations and Greek goddess styles can now be predicted. But rather than a literal interpretation of athleisure, Chiuri was inspired by the mobility and comfort it offers. “Clothes help people perform and that means you feel good about what you wear,” she said before the show. I imagine this is something that artists like Jennifer Lopez and Jisoo of the Blackpinks, who were in attendance, know well.
With dewy skin and slicked-back hair, as one might be after a bit of exercise, the models wore flowing silk moiré dresses, cascading wrap-skirt pants and satin-trimmed tank tops as they walked past colorful sports-themed mosaics based on the works of the late American painter Faith Ringgold. There were also glamorous, sparkly swimsuits that looked like bathing suits, but they weren’t meant for swimming and would be better suited for lounging or worn tucked into pants.
Chanel, which has no creative director, offers a reliable collection steeped in house codes: embellished tweed suits, cinched-waist dresses and lightweight ankle-length coats in black, gold, silver, ivory, fuchsia and pink pale. The models had their hair tied back with a big black bow. The Palais Garnier served as a magnificent setting, although it was a shame that the members of the workshop, which designed the collection, did not bow. They would have deserved the applause.
Giambattista Valli remained faithful to his sure values: graceful dresses, with lots of chiffon and tulle. Giorgio Armani, who will soon celebrate a milestone birthday (he turns 90 in July), also kept his codes and sent jovial-looking models slipping into beaded-themed evening ensembles that seemed soothing yet powerful: dresses shimmering colors ran down the body and impeccable jackets rested on pants or skirts that shone and flowed like liquid. There was nothing complicated about it, we tend to find that the best models just aren't.
The most intriguing show of the week was Balenciaga, which has been a thought-provoking affair every season. Perhaps creative director Demna (who goes by his first name only) sought to create a relaxed atmosphere with the meditative soundtrack that played throughout the show. Backstage, he said that this type of audio guide is part of his daily routine.
Founder Cristbal Balenciaga was a master of structure and dreamed up designs that didn't conform to the body. Demna sought to do the same by drawing on archival shapes, such as three-quarter bell sleeves and cocoon silhouettes, while continuing to explore the worlds of streetwear, goth, skate and metal, which have inspired him over the last decade. . I wanted to invent new things that could enrich the vocabulary of sewing techniques.
As for the clothes, with the exception of a few skirts and dresses, they were mostly loose, loose, and utilitarian. Jersey and denim jackets and sweatpants appeared to have been pulled on and wrapped around the body, or turned inside out. Plastic bags and aluminum foil were transformed and recycled into unique dresses that crunched under models' feet, while eccentric hats were made from t-shirts frozen in resin. I wondered if it was wise to elevate the ubiquitous and the everyday to the status of exclusivity and elite.
Guests including Katy Perry and Charli XCX marveled at the finale: 47 yards of black nylon draped and sculpted onto the model by the atelier less than an hour before the show. It took even less time to disassemble. The creation, which resembles a life-size loofah sponge, could only be worn once, making fashion comparable to dining at a fancy restaurant. “Nobody needs couture to be honest; for me, it’s an experience to wear clothes. And I wanted to go further,” Demna said.
A fresh take on couture is always welcome, but the fact that something falls apart and dissipates after being worn shows how much fashion, even the noblest, has become a byproduct of the Instagram era. And there was something a little depressing about that.
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