On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
On the eve of couture week in Paris, headlines were loaded not with the usual buzzy excitement about celebrity front-rows and long-awaited debuts, but with the riots, protests and mass arrests roiling the capital in response to the police killing of North African teenager Nahel M. Amidst this state of volatility, many questioned whether the couture shows should still go on as scheduled. For Celine's creative director Hedi Slimane, the answer was a resounding no, as he announced on Instagram that "a fashion show in Paris at a time when France…[is] bereaved and bruised seems inconsiderate and totally out of place.".
This, of course, is not the first time year that couture has found itself in deep waters; from world wars to economic recessions to Cristóbal Balenciaga himself shutting the doors to his atelier in 1968, citing that there was "no one left to dress", the purpose and necessity of couture has been both venerated and repudiated many times over. Yet, season after season, couture somehow manages to prove its endurance.
So, what's the big deal? Translated literally, 'haute couture' means 'high dressmaking'. French law defines and guards the term preciously, rendering couture an exclusive arena where only the best of the best are permitted to play. According to the Chambre Syndicale de la Haute Couture, eligibility rests upon a series of hallowed rules, including that garments must be made-to-order in an atelier of at least 15 full-time staff, they must be fitted on a client in person more than once, and collections must be presented with a minimum of 50 original designs. Anything less gets the axe.
With the stakes of couture being as high as they are, the ongoing debate surrounding it comes as no surprise. On the one hand, some suggest that couture is an elitist, tone-deaf relic of the past that serves little purpose other than to indulge the super-rich. On the other hand, others argue that couture is the crux of fashion itself, where true craftsmanship and pure creativity converge. Indeed, in its own strange way, couture is a reminder that a constant push for progress is not always the answer. There is a startling poignancy to be found in contemplating the countless hours and multitude of minds and bodies that contribute to making these exquisite garments that stand as proof of our intelligence and artistry, of our deep-seated desire to express ourselves, and most importantly, of our existence.
To champion haute couture is to support the present and physical humanness of it all. To this end, we look at some of the standout moments from this season's couture shows.
Balenciaga
In the aftermath of Balenciaga's social media scandal earlier this year, creative director Demna Gvasalia pledged to return to "the art of making clothes". So, for their FW23 show, flashy gimmicks and A-list appearances were noticeably traded in for masterful tailoring and OG supermodels. It is perhaps most telling that Gvasalia enlisted former Balenciaga house model Danielle Slavik to open the show in a replica of her favourite dress- a long-sleeved black velvet dress with a string of pearls draped between two shoulder rosettes. Pulling from the archives imbued the rest of the show with a sense of reverence as signature house codes were reworked alongside bold experimentations in form and structure. Think coats and scarves moulded into windswept freeze frames and floor-length chainmail dresses fashioned from lace. In Gvasalia's words, "Couture…is the only way to shed light on the essence of this job: making real clothes, authentic creativity, the importance of the person who wears it, and not the endless marketing and selling…that has cannibalized the whole industry.". So what better way to close the show than with a staggering ballgown of armour constructed from 3-D printed resin and galvanised metal? Long may couture reign.
Schiaparelli
As AI threatens to undermine our painstaking endeavours and industries, creative director Daniel Roseberry responds with a collection so "aggressively, unmistakably human" that we cannot help but get a little existential. Dedicating his whole collection to all-time art greats, looks ranged from asymmetrical skirts reminiscent of Dali's curved surfaces to brush strokes transferred onto stretch-silk in the style of Lucian Freud to the deep cobalt blues of Yves Klein painted directly onto models' bodies. Roseberry's Schiaparelli stands today as perhaps the most total representation of couture as an art form: inspired, impeccable and timeless. At the end of the day, for Roseberry, "to dress, decorate, but most importantly, to create, is as primitive as any instinct we have.".
Valentino
Set against the dreamy backdrop of Chateau de Chantilly, simplicity was surprisingly key at Valentino. The show opened with Kaia Gerber in a half-unbuttoned white shirt, slouchy denim jeans and a pair of gold flats, a look seemingly understated by couture's standards. Except, upon closer examination, the jeans were not made of denim at all but of silk gazar embroidered all over in microbeads and dyed 80 different shades of indigo to appear like denim. Elsewhere, streamlined column dresses and delicately draped tunics spoke to a sense of everyday couture, where immaculate construction did not preclude wearability. For creative director Pierpaolo Piccoli, "It's somehow paradoxical to show in a historical site that I believe is a metaphor for status and power, a symbolism that has to be questioned and re-contextualised.". In this sense, Valentino's couture was a much-needed breath of fresh air.
Dior
At Dior, antique Greco-Roman silhouettes floated down the runway in crisp whites and shimmering golds, their diaphanous fabrics moving and moulded to the models' bodies like the drapery of classical statues. The devil, however, was in the detail: intricate pearl embroideries, beaded lace capes, luxurious double-faced ecru wool, and shantung silk came together to paint the image of true opulence. This was creative director Maria Grazia Chiuri's case for couture permanence - rooted in contemporary feminine ideals of comfort and practicality, yet never forsaking the importance of tradition and artistry.
Chanel
It's not couture week without Chanel. Along the cobblestones by the Seine, creative director Virginie Viard made all our Emily in Paris dreams come true with a show brimming with beloved Parisian classics. From patent Mary Janes to boucle ensembles to flowers peering through wicker baskets, each look encapsulated that quintessential French-girl essence- effortlessly lived in yet impossibly chic. According to Viard, "Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy…which, at Chanel, is what we call allure.". Indeed, the beauty of Viard's Chanel lies in its ability to make us believe that grabbing a croissant in a couture suit is the most natural thing in the world.
