From midriff tops and flower appliqué beanies at Chanel to chic, polka dot voilettes at Giambattista Valli, here is our lightning guide to the “best of” the Spring 2015 Paris Haute Couture shows.
By Sofia Guellaty and Caterina Minthe
Spring 2015 Haute Couture Roundup
Spring 2015 Haute Couture Roundup
From midriff tops and flower appliqué beanies at Chanel to chic, polka dot voilettes at Giambattista Valli, here is our lightning guide to the “best of” the Spring 2015 Paris Haute Couture shows.
RALPH AND RUSSO
“It was all so romantic, so elegant, so belonging to another time other than our crass, selfie-loving, buttocks-baring pop culture that is so esteemed by today’s young women.” Read the full review here.
RAMI AL ALI
“On the surface, this collection appears pure and honest, but take a deeper look and one gets the impression that under the layers of fine tulle, there is a hidden mystery.” Read the full review here.
ZUHAIR MURAD
“Cascading crystals; cascading silks; cascading lace; flower appliqués over ball gowns; sequined short numbers with full skirts and pockets; V-shaped backs with thin belts; and in-built capes on sequined lace made for a show that looked too much like a déjà vu on the last day of Paris Couture Week.” Read the full review here.
RAMI KADI
“The dresses consisted of slender strips of fabric or stitches constructed to create graphic and hypnotic shapes. Two looks featuring gladiator strip skirts caught the light in such a manner that they appeared to have electric energy run right through them.” Read the full review here.
JEAN PAUL GAULTIER
“The bride wore a lace bomber and tulle ball skirt, the bride wore shorts, and the bride wore blue jeans. Naomi Campbell closed the show wrapped in cellophane and live orchids and not much else; she was a bridal bouquet.” Read the full review here.
VIKTOR & ROLF
“The whole collection had an haute arts and crafts feel to it. And, as usual, it was the designers’ experienced eye and execution that managed to keep the whole thing “couture” as opposed to, well, ridiculous.” Read the full review here.
ELIE SAAB
“The tulip inspiration gave life to interesting new motifs, which juxtaposed with Point d’Esprit lace gave a romantic and innovative spin to the more classical dresses.” Read the full review here.
VALENTINO
“A theme of love also transpired within the collection via the inclusion of hearts, stars, and clouds embroidered on A-line silhouettes. Amor Vincit Omnia (Love Conquers All) was emblazoned on a linen corset and another number bore lines from Dante’s Inferno.” Read the full review here.
ULYANA SERGEENKO
“The attention to detail was impressive, but more than that, Sergeenko has eased some of the beginner’s excesses out of her system.” Read the full review here.
ALEXANDRE VAUTHIER
“And if one believes that crystals ward off negative energy, the Maison Lesage-embroidered stones colonizing a gown or tank dress should be as good as armor.” Read the full review here.
BOUCHRA JARRAR
“Despite showing on the couture calendar for the last five years, she had yet to put an evening dress on her runway. The fact that she finally did so today seemed like a statement of intent: ‘Hollywood, here I come.’” Read the full review here.
STEPHANE ROLLAND
“More close to home, Rolland’s love of the Arab world, especially Saudi Arabia, was celebrated with some exquisite black and gold numbers—particularly a jalabiya which stood out for its simplicity and elegance.” Read the full review here.
ARMANI PRIVÉ
“Asia is an influence that has served Armani well over the years, and at first glance it looked like that was where he’d gone again today.” Read the full review here.
CHANEL
“This time, the waist was the main protagonist, with a series of midriff tops and knee-length skirts that will please the younger Chanel clientele who, like Kendall Jenner and Cara Delevingne, the new Chanel muses, are lucky enough to have the right figure to sport them.” Read the full review here.
GIAMBATTISTA VALLI
“This new silhouette was fresh and daring, yet still elegant enough to be coveted by Valli’s young, jetset clientele. The black-dotted veils and dainty bows over the models’ faces had us thinking that maybe it’s time to start revisiting voilettes for nighttime.” Read the full review here.
ALEXIS MABILLE
“But this was not a period collection so much as one that further confirmed Mabille’s obsession with overworking his designs.” Read the full review here.
SCHIAPARELLI
“This collection didn’t feel like a ‘tide us all over ’til the new creative director settles in.’ Think of it more as a template for modernizing the Schiaparelli legend and for making it attractive not just to couture customers, but also to the retailers that might someday carry the house’s would-be ready-to-wear line.” Read the full review here.
GEORGES HOBEIKA
“A full-skirted greige gown entirely overlaid with white lace pattern offered the most graceful note of the collection; a baby doll dress, also greige, with pockets highlighted with cascading crystal beaded embellishments, was both smart and whimsical.” Read the full review here.
CHRISTIAN DIOR
“Of course, not everyone will buy into the psychedelic looks or fully-printed body suits with corresponding mini skirt—especially the Middle Eastern clientele. Nevertheless, this collection was so rich, so uncompromising on beautifully-executed embroideries and volumes that it should please its fair share of Dior aficionadas, clients, and red carpet divas alike.” Read the full review here.
DICE KAYEK
“Dice Kayek’s dollhouse is beautifully executed and offered a covetable series of cocoon-like baby doll dresses, though the sister duo would benefit from introducing more variety next season.” Read the full review here.
ATELIER VERSACE
“More than a few times, when she swerved into unchartered territory and showcased a deluge of fabric (by Versace standards) with high-low flared and pleated skirts, bras overlaid with bomber jackets, and over the knee boots, the messy ménage of separates looked more costume than couture.” Read the full review here.
MAISON MARTIN MARGIELA
“There was enough beauty to satisfy the most extravagant aesthete in Galliano’s fan base, but there was also an edge of the grotesque, which was true to Artisanal’s wayward spirit.” Read the full review here.
