Season after season, I find myself getting less and less excited about couture fashion week. Where there once was a magic, there is now just another season of clothing that makes me feel very little. With that being said, there’s still two or three brands that I can always count on to make my eyes twinkle. Maison Margiela was the standout for me this season, which doesn’t make me special, but I do think it’s fascinating to see such a cohesive reaction to one show— it’s not something I’ve witnessed in quite some time.
I have written reviews for some of these shows, so I’ll include them, but generally speaking, I liked the brief recap style I did for the last fashion season, so I do plan on continuing that with future seasons.
Anyway, let’s get into it.
Forget Mother Earth, let’s talk about the mother board… and keep that final evolution of an iPad kid away from me.
Daniel Roseberry opened couture fashion week with a bang, as usual. Elsa Schiaparelli’s uncle, Giovanni Schiaparelli, was an astronomer and also coined the term “martian,” beginning our extraterrestrial obsession that persists to this day.
One can assume that Elsa’s love for astronomy and the stars came from him, and that love was often seen reflected in her designs.
In the show notes, Daniel wrote, “This collection is an homage to that obsession, as well as a study in contradictions— of legacy and the avant-garde, of the beautiful, and the provocative, of the earthbound and the heaven-sent. Bus as art (and nature) teaches us again and again, the things and ideas that seem diametrically opposed to each other can also combine to make startling chimeras, objects composed of familiar parts that, when united, create something unexpected and new.”
We saw old world design techniques, like embroidered lace and velvet, interwoven with new age styles, like microchips and motherboards. Daniel also referenced his home state of Texas throughout, with glamorous bandanas covered in hand painted pailletes, cowboy boots, and horse braided knots. Speaking of horses, the horse tail bustle that Zendaya wore to the show? If this is the direction the furry community goes in, I might see the appeal. The usual Schiaparelli references, like keyholes, measuring tapes, and body parts took a bit of a back seat in this collection, but still made themselves known in small details and accessories.
Belts adorned pants, jackets, and corsets alike, with a bit of a bondage feel, and the details on some jackets reminded me of Spanish bullfighters— although seen in Elsa’s work, in this context perhaps it comes from Daniel’s referencing of his home state. Some garments were so incredibly structured, one had to question whether some of the people working in the atelier should rethink their career paths and perhaps give architecture a try.
A sequin dress with trompe l’oeil briefs and lifted shoulders, felt very modern upfront, but had an old world feel in the back, with draping that led to a train reminding me of the 1930s. One look covered in dressage silk knots, looked like it was built on a dress form, while another had a pencil in place of a bowtie. We saw plays on the iconic skeleton dress, in a more fluid, fringe style, but we also got a silver spinal jewelry piece that was incredibly striking and made me think of McQueen immediately.
One model came down the runway, covered in thin, paper-like petals, bringing a bit of nature into the technical, and felt quite fitting with the upcoming met gala theme being sleeping beauties, and having a focus on delicate garments that need to be handled with care, and often can’t be worn due to their need for preservation. Speaking of the met gala, a crone shouldered gown came down the runway with pearls that looked the farthest things from cheap. There were also simpler styles that played with the old and new in more subtle ways, like a satin gown with seams that created the same jagged shapes as its neckline, and the opening look paying homage to a famous portrait of Elsa herself.
Overall, it was a bit more subtle than Schiaparelli shows of the past, but was just as mesmerizing, if not more. Sure, there was one look or two that maybe could have used a quick second take, but I think Daniel Roseberry has in fact, done it again.
I don’t keep it a secret that I’m not particularly a fan of Maria Grazia Chiuri’s Dior, however I do give credit where credit is due, and I can admit when something makes sense for a brand. Other times, it’s just ugly and I don’t care to make the connection. This season, there was a little bit of both.
MGC described the clothes as being, “a conversation between two fabrics that are apparently in contradiction.” Sure, but I don’t think they were always having the same conversation.
Anyway, the show began with a group of looks that seemed to challenge classic trench styles, all draped in different ways. We also saw a bit of embroidery, that was sometimes incredibly beautiful, and other times left me wondering if I should take back every nice thing I’ve ever said about MGC’s Dior. However, the main focus of the collection had to be the reinterpretations of classic 1950s Dior silhouettes, often seen in a silk moiré, which I am a sucker for— we just don’t see enough silk moiré these days. The idea was sparked after she saw a gray moiré dress from 1953 by Christian Dior, and how its geometric shape referenced the panniers of 18th century court dress. She took the style and made it more wearable for today.
Asymmetrical draping was nice for the most part, and pleats were striking, especially in a white gown that played with a bit of a trellis motif on the waist and neckline. Hey, at least it isn’t a stupid little belt or waist seam.
I often feel like we lose what it is we’re trying to say with these collections, and I can’t imagine that editing them down a bit wouldn’t help. While couture doesn’t always have to be a fantastical journey into another world, I’m often left bored at Dior, so much so that the references don’t really matter to me. I can also understand that I am not this customer, and while I can’t imagine ever wanting to purchase these clothes, there is a whole 1% that I will never be on the inside of, clearly eating them up, and I’m sure they’d think that I, like, just don’t get it.
Rahul Mishra’s biodiverse collection was magical, as his clothing usually is. I’m very into the petri dish looks.
Gaimbattista Valli was very Giambattista Valli. The brand is obviously very known for their work with tulle, however the standouts for me had to be the floral, taffeta, bubble hem gowns. They were so ridiculous and good, and honestly feel like they could have gotten a little more ridiculous.
I would like some form of compensation for having to view the Chanel collection. More and more each season, I feel myself asking, what is going on over at Chanel?
The brand has quite the extensive history, and Virginie Viard often references some of that history in ways that aren’t always incredibly obvious to the casual viewer. This season, she focused on the ballet, specifically though a 1930s sense. Coco Chanel was quite interwoven into the Ballet Russe scene, and even had a scandalous affair with composer, Igor Stravinsky. Sergei Diaghilev, the founder of the ballet, asked Coco to design costumes for his production, because her liberating style was appealing to the ballet’s penchant for original costume designs. Coco’s styles were seen as liberating to women of the time, and felt refreshing— I can’t imagine Virginie’s Chanel is doing the same. I’m going to need everyone to leave ballet alone, until they figure their shit out.
There were obvious references to the ballet, through reimagined tutus, and of course, large tulle skirts. Tweed blazers seemed to be cropped and wrapped like warm up tops I am far too familiar with, but in a way that felt forced. While other looks modernized 1930s silhouettes, like drop waists, and 1920s robes de style to make them wearable for the contemporary Chanel woman— well that’s allegedly what they tried to do. However, one strip of tulle wrapped around someone’s waist, isn’t doing much of anything, for anyone. There is also very few things more confusing than the styling at Chanel. I find that, sometimes, that is more the problem than the clothing.
While florals and pastels for Spring might not be groundbreaking, the colors were sweet and looked like the perfect color palette for a plate of macarons. The execution on the other hand, could have used some work. Ruff and pie frill collars were featured on a lot of garments, and I’m sure the full bodysuits were meant to tie back into the ballet leotard of it all, but it made me think of lymphatic drainage massages, and the compression suits they make you wear. I’m not going to say anything about the lace clown suits. I’ll just let you form your own opinions on them, because certainly there is only one. Although this was quite a rough collection for Chanel, there was some nice outerwear, and I enjoyed the smocking. A strapless sequin tunic was nice, and perhaps if paired with a white straight leg pant instead of tights with a tulle overlay, it would have made sense. There is no question when it comes to the incredible craftsmanship, which I’m sure Chanel’s clientele would agree on, however, one has to wonder if they’ve started to gaslight themselves into believing that this is chic.
The lace at Alexis Mabille was really nice.
I always look forward to seeing how Ronald van der Kemp creates couture with repurposed and deadstock materials.
Armani Privé looked exactly how I’d expect it to look, however, I did feel like there was a bit more of a youthful energy this season, which is nice to see. Looks 12 and 13 are stunning. Also, the Armani shows are always full of so many looks, I get overwhelmed and forget each of my thoughts immediately.
Okay, I know Alaïa isn’t couture, and Pieter Mulier might technically show off season, but showing during haute couture fashion week, feels more fitting anyway. He said, I take your quiet luxury and raise you a collection with garments made of one singular merino wool yarn. After all, craft and high quality fabrics are the true luxury.
All of the curved and bubbled silhouettes were inspired by circles. Mulier said, “the curves of women, and circles of friends, of chosen family, an idea essential to the essence of Alaïa.”
Reduction, does not mean restriction, and this Alaïa collection is a prime example of that. Taking that single yarn, and creating fringe bubble hems that looped into themselves, wool pants made to look like denim, 3D printed gowns that clasped into place, and wool tufted to look like fur. One of the standout pieces to me had to be pleated accordion style garments that had the most beautiful movement as the model cam down the runway. Tufts of wool on arms were reminiscent of tulle styles we saw last season, and that signature Alaïa a-line skirt also made an appearance. Draped styles that looked like a chiffon were dreamy, and the use of leopard print reminded me of Alaïa’s FW1991 collection— make a mob wife reference and I’ll punch you in the throat. The brand is known for being sexy, after all, Azzedine was the king go cling, but there’s something smart we’re seeing from designers like Mulier, finding the intrigue in effortlessness. As he described it, “it’s less sexualized, but still sensual.”
Azzedine Alaïa had a love for architecture and interiors, which is a love that Mulier shares as well, and can be seen reflected in the beautiful shapes and structures of the clothing. I truly can’t think of a better match between creative director and house. So yes, the collection might look simple at first glance, although even then, I’m side-eying you a little bit for that opinion, but upon truly understanding the garment, you realize it’s the farthest thing from it.
Miss Sohee was delicious.
This season’s guest designer at Jean Paul Gaultier was Simone Rocha, and is one I’ve been looking forward to since its announcement— reader, I was not disappointed.
Every season, we see designers interpret the JPG archive in their own way, sometimes more literally, and other times with more of their own flare. Rocha took the latter approach by giving her fans a scrumptious couture treat.
In natural Simone Rocha style, we see the use of a lot of soft, feminine fabrics, but they were given an edge through their sharp structures. For example, an Irish lace dress was lacquered in resin and dipped into metal twice to create this ornamental shell, as if wearing lace armor.
Fetish and bondage, through the use of things like harnesses, are something we often see in both JPG and Simone Rocha’s work, so it was a natural element to incorporate into the collection. Rocha is also know for her use of ribbons and bows, which we saw quite a bit throughout the collection. My favorite had to be a sheer Bretton stripe top, which is a signature at JPG, created with bows in place of its usual stripe. Lingerie and corsets are another house code, that Rocha explored through things like, ribbon laced dresses, and sailor hats that were laced in the back like a corset. The iconic cone bra was seen with a bit of a peak, almost like a thorn, and also in the traditional sense, made with a single bolt of cloth that was found in the archives.
We saw beautiful bubble hemmed evening gowns that oozed glamour and countless robe de style dresses that were just as dreamy. Rocha opened the show with an organza dress threaded with metal and with a pannier, referencing the Tatouage collection. A white tulle dress with leaves strategically placed was perhaps a reference to a JPG perfume bottle? As were florals that felt like they were made of aluminum cans. A black taffeta gown was covered in plumes of twisted feathers, that were dipped red in a very Simone Rocha fashion. Tulle was often manipulated in a way that was, yes, sheer, but layered in a way that prevented it form being too revealing. Speaking of revealing, one Jacquard gown with puffed sleeves seemed to be quite conservative and simple, but when the model turned, you could see a fully exposed back. A front laced corset took my breath away, and the finale, chantilly lace, bubble hem gown, that almost looked like it was withering away, with veil that fully covered the model, was a perfect ending to an enchanting show.
At times, I would have liked to see the designer just go for it a little more. If anything, I think we can all agree that someone like Simone Rocha having access to a couture level atelier was nothing if not a blessing.
Entitled ‘Scissorhands’ Viktor & Rolf took sheers to garments instead of shrubs, to create another fantastical and fun collection.
Viktor & Rolf’s shows are one of the only ones that still excite me during the couture season, and for obvious reason. Seven looks came down the runway before going through three different transformations, if you will, making them look almost unrecognizable. Viktor & Rolf are often self referential, and here, the original looks were all styles we’ve seen in past collections.
The duo described the collection as, “couture, but with a punk attitude” and seeing them spin beautiful, traditional gowns on their head is something they continue to excel at. They took the idea of being torn between two things literally, by showing that you can want to be polished, but also a little bit raw and unrefined— get you a girl who can do both.
Although the looks looked completely ripped to shreds in their final form, the layers were actually all hand sewn to each other to create the intentional massacre.
The starting looks might have been lovely just the way they were, but their experimental counterparts make for some very interesting red carpet options. I find that we don’t see Viktor & Rolf out and about enough, so I just wish the girls would have some more fun every once in a while.
I’m not a pretty pretty princess kind of girl, but Zuhair Murad kind of turned it out.
Although Pier Paolo Piccolo has always been a master with color at Valentino, we haven’t seen this kind of color blocking since the Fall 2022 Couture collection. However, the only difference between that collection and this one, is that the former actually featured a few diverse bodies. Piccolo talks a big game about diversity and redefining not only femininity but also masculinity, yet it all feels very performative when you see the lack of consistency, and the entirely white atelier. As for menswear, I tried to make a video about ciel cerulean joining pp pink in the latest collection, but while the clothing was nice, I just didn’t care enough. To add to the diversity of it all, while there have been a few plus size female models here and there, we’ve never seen diversity in the male models.
Piccoli said that couture is about the “illusion of effortlessness,” and the garments did in fact float down the runway, as we saw traditional couture styles combined with the contemporary.
So yes, the clothing was beautiful, well, for the most part, the colors were delicious, and the textures were begging to be touched, but if you’re going to make a point to stand for something that goes beyond the clothing, expect people to be upset when you don’t follow through.
Fendi, I’m tired.
You might recall me thinking that Kim Jones’ Fendi was perhaps, finally, going in the right direction. Shame on me for being hopeful.
For this collection, Kim Jones talked about how he wanted the show to feel graphic and romantic, because he was thinking about how Karl Lagerfeld wasn’t really one for nostalgia, and instead focused on the contemporary and the future. While sometimes, Jones has referenced Karl’s work more literally, here the inspiration was more vague. Well, at least now we know that’s not a good idea.
Fendi is a fur house, and as we know, fur has been a bit of a taboo in recent years. The house is also known for fine leathers, its bags being one of its main selling points. This season, Kim Jones wanted to do fur, but without actually using fur— real or faux. Instead, they took tiny filaments and embroidered masses of them, to create an uneven, wave-like design on numerous garments. As someone who only buys used fur and has been a vegan for nine years, I’m gonna say it, Fendi should just use real furs, sorry. Now, not all the embroidery was bad. There were looks that were fully embroidered with blooms of sequins that almost looked like furry mold, in a really lovely way, but other than that, there’s not much to say.
There was this wrapped, halter style, that we saw feature in numerous looks, and even saw Zendaya wear a maroon version of the white ribbed knit at the show, but most of it was just boring. Don’t get me started on the “box dress” as Jones described it, that opened and closed the show. Sure, let’s just tuck in some fabric and create the ugliest neckline you’ve ever seen. Pleated gowns were just as uninspired and although the mesh was matched quite well in a white pleated chiffon dress, the back took you out of the already questionable fantasy. I’m assuming the gowns embroidered in uneven shapes were meant to skew your perception of the body, but I’m confused, and not in a way that makes me want to learn more. A sequin gown with Art Deco crystal embroidery was fine, but a sequin suit was spooky. Also, what’s happening with the ice skater ensemble and it’s hole at the armpit?
Feel like pure shit, just want Karl’s Fendi back.
The sophomore slump was no match for Robert Wun, as he showed his second breathtaking couture collection.
We saw a lot of similar styles from his debut collection, but that’s not a bad thing. As a younger designer, it’s smart of him to develop house codes that are already so identifiable, and to grow and change them overtime. Just like last season, we saw him play with ideas of horror, but this time we stepped out of just mistakes that can occur within an atelier, and step into an exploration of love and relationships. The wine stained wedding dress from last season, looked like it had been stained with gumballs instead. Crystals raindrops, a motif that has become a fan favorite were also seen in raincoats and dresses alike. Umbrella hats and feather details accompanied various looks, and speaking of feather details, Wun is often inspired by birds, which can be seen in the swallow tail pleated sleeves of some garments.
The craftsmanship in his work is incredibly evident. Just take a look at those signature, structured godets, given more of an edge this season. Or the way the pleated ruffles on the arm and neckline of one gown flow like a wave, just like its draped skirt. Laced up and harnessed styles added a bit of kink, but also felt like an armor.
Blood stains started small with a bit of a brain bleed, and ended in a blood bath, before bringing the show to a close with a sinister red figure attempting to undress the model.
All I have to say is, Ryan Murphy, start writing, because I think I’ve found your next inspiration.
The structured waves at Gaurav Gupta never get old.
After seeing Maison Margiela, suddenly, no other couture show matters.
John Galliano’s storytelling is unparalleled, taking the couture beyond the clothing. With porcelain doll models, a la Pat McGrath making their way down the runway as if controlled by strings, the collection was a masterclass in couture. Oh and those porcelain collars? They’re actually leather, by Robert Mercier, who is also responsible for the Balmain, wet leather looks. We saw wasp waist after wasp waist on bodies that aren’t the traditional sample size we’ve seen all this couture season.
It’s rare that a collection manages to make so many people feel so many of the same things, but I don’t remember the last time I’ve seen a collection reposted on my feed by this many people all singing its praises. Although Galliano’s Margiela has been good quite consistently, the livestream had me locked in, in a way that I haven’t been since his time at Dior.
It was haunting, yet romantic. Beautiful, yet bizarre. Sad, yet sensual. As per the show notes, the collection was meant to “build an exterior expressive of the interior,” and to , “paint a picture of the practices and occurrences that shape the character reflected within our dress."
Galliano drew inspiration from Hungarian-French artist, Brassaï and his photos of Paris at night. The models wore the clothes in a way that made you wonder beyond them. Who is this person? What have they gone through tonight? Are they trying to forget something or someone? Will they end their night in the warm glow of a loving home? Will their night perhaps never end?
Yes, it was very Margiela, in things like deconstruction and tompe l’oeil, but it was also very Galliano in its fairytale-like story telling and period references. But in the haunting fantasy of it all, craft and technique never took a back seat— even the simplest of looks to my breath away. The pintucks emphasizing waists and gathering at shoulders, the symmetry in cuts and the collapse of the waist to emphasize the hips even more, the pleated trench made to look like a cardboard box, the oil slick ombré at the bottom of pants, silk crepe de chine made to look like tweed, layers upon layers upon layers of handkerchiefs, fringe sewn into its base layer, erotic lace, textiles intermingling with one another effortlessly, a Dior style bar jacket that just called MGC’s Dior ugly to its face, perfectly dyed fabrics as if changing in color depending on how the moonlight hits, tabi hooves, and garments that just couldn’t be contained… and merkins. That combined with the gesture and performance of it all, created the perfect meal for this famine of beauty our eyes were starving for.
It’s no secret that Galliano has had a questionable past, and so it can be difficult to separate the art from the artist, yet he has never tried to water down the terrible things he’s done. Whether forgiveness is warranted is up to you, but no one can deny this moving collection.
So that was Spring 2024 Couture fashion week! I have to go force myself to look at Christian Siriano’s Fall 2024 collection now. Why do we continue to let him kick off fashion week?
TTYL!!!
xx