In 1931 when Coco Chanel famously acquired her home in the Rue Cambon, it featured a number of animals that included a camel lampshade, a deer around the fireplace, and lion sculptures scattered around the late designer’s apartment. After viewing the apartment artist Xavier Veilhan came up with the idea, and it was clear, animals for couture were conceptualised. The staging featured a number of large wooden animals, with a circus style staging where models acted as ringmasters. Virginie Viards claims this playful collection is a youthful throng of dresses made for “real women” Viards approach was simple yet charming.
A historical rendition of the Harlequins, this checkered runway was something to be reveled in as the great Armani himself focused solely on one idea which threaded through the entire show. There were exits of pattern that gave a firm nod to the deco-jazz age and others which felt a little more 80’s in their flow. A true evening wear collection of beautifully crafted dresses.
An ’80s revival of powerful suiting and ostentatious dresses, Alexandre Vauthier’s showcase did not disappoint. With a recreation of the infamous Grace Jones jumpsuit and a parade of sharp shoulders and pops of color, this runway show was an ode to glamour. With our expectations for going out and buying investment evening wear pieces rising post-pandemic, this collection is our sign to re-direct our emotions through our outfits, Vauthier mentioned backstage “But it’s in the darker moments you need to be the most hopeful. There are two possibilities — to stop and sleep or to challenge yourself, and I think the second option is better.”
Alexis Mabille embraced every color of the rainbow this couture season with a flamboyant take on hues. Using the powerful song by Felix Da Housecat, “money success fame glamour” drove his theme home. Models sashayed down the runway in organza, brightly lit shades, gold, and draped and dropped waistlines. There was a nod to day-to-night dressing with an accessible number of shaped dresses, inviting every woman of all silhouettes to find something in the collection.
Stéphane Rolland’s show captivated his audience with a rendition of dresses that felt almost gospel. With the basis of his collection being routed from Rio in the 70’s all the way to the Greek Mythic legends of Orpheus and Eurydice. The entire collection was a feast for the eyes, with supersized jewelry pieces and large structured gowns, the richness of the show shone through and will certainly triumph on the red-carpet season. The final look which was worn by Oulimata Gallet felt other worldly and was a gilded Madonna sculpture, called Our Lady of Aparecida.