Haute couture (which is French for high or elegant dressmaking) has long been shrouded in glamour and exclusivity, and for good reason. The storied practice celebrates craftsmanship and artistry at the highest level. The label “haute couture” is tightly regulated by the Fédération de la Haute Couture et de la Mode in Paris, which requires its members to display notable expertise and finesse in the art form. And at Paris Couture Week for the Fall/Winter 2024 season, we saw the savoir-faire of those select members come to life.
The looks at the fashion shows held at prominent landmarks around Paris were at an intersection between simplicity and excess. Colour palettes this season were refined and neutral, which only amplified the intricate detailing—a cornerstone of haute couture—on each design.
The house of Schiaparelli, for one, is led by American designer Daniel Roseberry, who has been lauded by industry experts and fashion lovers alike for his take on founder Elsa Schiaparelli’s surrealist vision for fashion. Past seasons had seen the creative director drawing inspiration from astrology and other parts of the founder’s personal life, but on the drawing board this time was the titular phoenix, a symbol of rebirth and renewal, qualities of which he saw in Elsa Schiaparelli’s ability to ceaselessly reinvent herself and fashion. He channelled this spirit through feather and egg motifs throughout the collection.
But Schiaparelli was not the only house referencing the past at Paris Couture Week—so was Maria Grazia Chiuri at Dior, whose designs mirrored looks worn in Ancient Greece in the lead-up to the 2024 Olympic Games taking place in Paris next month. Reflecting the more spartan looks of the time, silhouettes were more pared-back than ever: white, floor-length dresses were artfully draped, ruched and tied, and rompers featured corset detailing.
And at Chanel, the fashion crowd got its first taste of post-Virginie Viard Chanel. All the mainstays were there: the tweed jacket and skirt sets, ruffles and bows, which are a nod by the team to the house’s youthful and feminine sensibilities. The designs were also pumped with more volume than before. If the rumour of Celine’s Hedi Slimane succeeding Viard comes true, we might just see a move towards a more rebellious, effortless attitude that has become synonymous with the designer at the French label soon.
Elsewhere, Thom Browne, Armani and more dazzled their audiences, albeit in different ways. While Thom Browne continued pushing boundaries with silhouettes via deconstructed suits, Giorgio Armani had revealed pearls as the new motif of the house.
Below, see our favourite looks of Paris Haute Couture Fall/Winter 2024.
Schiaparelli, Look 1
The opening look at Schiaparelli was a structural black velvet cape with emphasised shoulders shaped to look like the folded wings of a phoenix. This was further enhanced by chrome trompe l’oeil embroidery resembling feathers. The rest of the look was kept simple with a pair of sandals and egg-shaped earrings.
Schiaparelli, Look 16
Look 16—comprising of a jacket embroidered entirely from ecru feather tips, a matching toque hat and cropped trousers—attracted Internet buzz alongside look 26, which featured a green satin skirt made to look like a falling dress.
Schiaparelli, Look 24
The shawl collar, constructed from fiery orange feather tips made with silk organza, was a nod to the inspiration of the season, the phoenix. A pink version of the crinoline veil covering the model’s face was also seen on Kylie Jenner, who was spotted at the front row alongside Doja Cat and Selma Blair.
Dior, Look 25
The standout look at Dior? This silver fringed design, paired with lace-up sandals. The maison’s Fall/Winter 2024 haute couture collection was rife with metallic numbers in gold, silver and bronze, referencing the upcoming Olympic Games.
These hues accentuate the female form, suggesting the creative director’s intention to highlight how women in Ancient Greece fought fiercely to be taken seriously as athletes.
Balenciaga, Look 39
Creative director Demna explained in his press notes that this season’s Balenciaga couture collection was an ode to subculture looks—think streetwear, goth, skater and metalhead styles—which served as an important influence on his work.
For this look, he noted that he combined his personal style with the house’s signature codes of elegance and focus on cocoon-like silhouettes, resulting in a black nylon dress painstakingly assembled by the team from 47 meters of fabric just moments before it made its debut. The design was intended to be “an ephemeral couture performance and experience”, and was dissolved afterwards.
Balenciaga, Look 14
Apart from a focus on shapes, embroidered and feathered veils were a main motif at the Balenciaga show yesterday. Look 14 featured a floor-length coat in blue faux fur and a matching hand-embroidered butterfly veil.
Armani Privé, Look 78
Giorgio Armani imagined the Armani woman this season to be much like a pearl: subtle, elusive yet alluring, and this beaded flapper-style dress with a dropped waist embodied these qualities fully.
Armani Privé, Look 65
Pearls were seen everywhere at Armani. The gems were featured on the jacket of this velvet set, on the envelop-style clutch and as an accent to the hat.
Chanel, Look 45
Chanel’s couture collection reflected the theatrical nature of opera—the theme of the night—by way of voluminous capes (as exemplified in the look above), puffed sleeves, and an array of evening gowns.
Chanel, Look 36
As seen in look 36, textural contrasts were salient in Chanel’s lineup. Lightweight and heavier, more opulent fabrics like tulle, duchesse satin, lacquered jersey and velvet were paired together to create dynamic looks for the collection.
Thom Browne, Look 27
Likewise, the colour palette was kept minimal at Thom Browne, allowing details to shine through. Our favourite design of the collection was a long structured coat in look 27 with bold shoulders and, notably, embroidery depicting human anatomy on one side of the coat.
Viktor & Rolf
Viktor & Rolf’s collection was titled “Haute Absurdism”, and the designs shown yesterday certainly live up to that name. Cue: the opening look, featuring a structured blazer constructed from panels of satin in various colours as seen above, along with dresses with top halves that protrude from the body.
The silhouettes in this show were a reference to the label’s Fall/Winter 1998 show, titled “Atomic Bomb”.
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