In Paris, the fashion houses rely on tried and tested this week and tried for light, feminine collections. Brands like Chanel emphasized the visual code of the house, other houses such as Dior or Schiaparelli also played with classic silhouettes. Only the debutants of the Couture Week dared to experiments.
Proven codes
As the oldest, still active couture house in the world, Chanel celebrated 110 years of haute couture with many references to his inheritance this season. The catwalk in the Paris Grand Palais consisted of two interlocked letters C, the insignia of the founder Coco Chanel and the now unmistakable logo of the brand.
Before the arrival of the future creative director Mathieu Blazy, the haute couture collection designed by the creative studio remembered the tradition of the house. Tweed costumes with the typical button strips have been iterated many times; Black, long loops adorned the crawls of blouses and jackets-all looks combined with the iconic two-tone sandals. Glittering tweed, lace and silk in pastel tones brought ease into the collection.
The dizzying heights of craftsmanship
This season, Schiaparelli continued from the sensational designs that creative director Daniel Rosebury drawn from the surrealistic heritage of the founder of the same name during the rebirth of the fashion house. He continued the game with reality, but with quieter details that rooted in the essence of the couture – the art of craftsmanship.
An impressive example was a corset-busier dress: exaggerated hips played with the classic shape of the corset, more than 3000 sewn-in trompe l’eil-satin pearls with our perception. At the same time, however, they also demonstrated the skill of the house and exploring what Couture can do.
Appropriately, the title of the SS25 show “Ikarus”-the tragic Greek legend figure was borrowed from the sky because it came too close to the sun and gods with her wings. “Haute Couture then strives to achieve great heights; It promises to escape our complex reality, ”said Daniel Rosebury in the notes about the show. “It also reminds us that perfection has a price.”
Fairy tale girl world
The Paris fashion house Dior also demonstrated the physical art of his couture studio, while it escaped reality in the spirit of reality. Creative director Maria Grazia Chiuri was inspired by the trapèze line of the young Yves Saint Laurent for Dior from 1958 and the Cigale silhouette, which the founder of the house himself designed for a couture show in 1952.
Crinolines appeared again and again between the historical inspiration – covered with a spout or occupied with fringes and floral embroidery. Tops with puffed sleeves and small pumps made of lace and iroke -shaped feather jewelry for the hair, gave the collection a girlish, slightly rebellious note. The escape from reality into the wonderland of the styles was completely with the naive pictures of the artist Rithika Merchant in the background of the catwalk.
What is Couture?
Contrary to the trend towards elegant evening gowns and light dresses, designer Alessandro Michele ventured into comparatively heavy food during his haute couture debut at the Roman fashion house Valentino.
He remained true to his maximum style and not only seemed to explore the limits of the craftsmanship of Valentino’s studio, but also the history of the couture across the centuries and continents in view of the abundance of the different styles and looks.
In the first look, a harlequin-tulle dress, there were 1300 hours of handicrafts. And the list for the dress displayed in the background of the show contained more than 60 keywords of Micheles – such as “Commedia dell’arte, Graphism, 341 Sky, Middle Ages, Bustier, Dramaturgy, Vitruvius, 16th century, ..”. And so it went on the next 47 looks.
The main thing is always pretty?
In the round of the collections that want to be light, airy and beautiful, Ludovic de Saint Sernin, as a guest designer for Jean Paul Gaultier, recalled that Couture can also draw another picture of the gender. The fashion designer, known by gender fluid designs and has become successful, played with the maritime distinguishing signs of Gaultier. But instead of a happy ladies on the cruise, he dressed a lascivious creatures from the shallows of the world’s oceans-and finally appeared in a black, shoulderless dress with closest wasp waist.
