The Paris haute couture season witnessed two radically different fashion moments Monday, the remarkable organic high-tech of Dutchwoman Iris van Herpen, and the off-beat maximalism of Australia’s Romance Was Born.
Chanel staged a ravishing couture show in the Grand Palais on Tuesday morning, the giant space reimagined as the banks of the Seine, with bouquinistes' stands, lampposts and a backdrop of the Institut de France.
There is life outside of Paris even for haute couture. Traditionally the métier was confined to the French capital, with just one acknowledged sub-division called Alta Moda in Rome, and latterly Milan.
It’s official; the feminist revolution is finished at Christian Dior. After several politically slanted shows at Dior by Maria Grazia Chiuri, this was a clear statement of classical couture, even rather too much so.
There is a certain moment when fashion passes beyond the point of merely being clothes and becomes a proper artistic statement, a trajectory that was achieved Monday morning on the banks of the Seine by Nourredine Amir.
No fashion house is as indelibly linked to a Hollywood legend as Givenchy is to Audrey Hepburn, the leitmotif of a refined collection presented Sunday night in Paris by the marque’s creative director Clare Waight Keller.
It was ironic that Demna Gvasalia, a Georgian refugee, should stage his latest show right at the moment when Russia, the country that invaded his native region on the Black Sea, were fighting to victory in the World Cup.