Paris Fashion Week Just Threw Boring Out The Window — Thank God!

Paris Fashion Week is more than just a calendar event. Legends are made (and unmade) here. If there’s too much effort in generating a ‘wow,’ next season might just become a myth for a once-raging contender. Luckily for the giants this week, the drama was welcomingly dialled up to eleven. From intricate beadwork that had us questioning our life choices to feathered wonders that would make any bird green with envy, Paris delivered on its promise to serve. 

Here’s our high fashion commentary with which we bring to you our favourite observations. 

Exhibit A: Unprecedented Attention To Detail At Balmain

Olivier Rousteing seemingly took a step back from the signature bombast that’s long been associated with his Balmain empire by gifting us with something more... demure, perhaps? Gone were the usual glitzy, heavily embroidered gowns. Bra-like tops and flirty tank dresses, sculpted from shells and wooden beads, had a moment. My personal favourite was a stiff, amethyst-like bustier that grows from the body, a piece that belongs in the museum for sure. He’s back at the InterContinental Paris-Le Grand — the very venue where he made his debut as Balmain’s creative director at just 26, which makes it even more iconic. 

Exhibit B: Anderson’s Debut At Dior

Pressure? Tell me about it. Kim Jones’ successor at Dior was tasked with addressing doubts about the future of luxury. But honestly, if anyone could do it, it really would be Anderson. However, after the show, the audience has been divided. Some are cheering the audacity, some are rolling their eyes, and calling it lazy. Me? For the first time in my life, I'm not sure about how I feel with regard to a collection. 

Observationally, The Bar jacket, the defining silhouette of the House, was re-imagined with an almost comical twist, which was interesting. Like literally shrunk down to near Barbie proportions. His mini-Junon dresses, with their hundreds of delicate scallops, were practically microscopic in their attention to detail. He sure is selling fantasy, doused in wearability and comfort. I think it’s bordering on a win.

Exhibit C: Old is New At Schiaparelli

Daniel Roseberry isn’t shy about channeling the greats and, in this case, Elsa Schiaparelli, the OG surrealist herself, of course. The collection was a direct callback to Schiaparelli’s own audacious interwar creations. Think metallic sequins that glittered like a midnight sky, exaggerated shoulders that could cut through a thigh, and tulle capes that scream ‘museum piece, darling.’ Enter a rare sighting of a black tulle reproduction of the ‘Apollo of Versailles’ cape from 1938, worn by Elsie de Wolfe, that took us on a trip through time. Always a delight witnessing Daniel do his homework.

Exhibit D: Feather Fantasy At Mugler

So camp!! Feathers, form, and drama. Miguel Castro Freitas gave us a lesson in how to take something as humble as feathers and turn them into high art. Harkening back to Thierry Mugler’s iconic ‘90s aviary couture, Freitas interpreted the legendary feathered looks, sending out jackets and skirts that felt alive, almost like they were about to take flight. Of course, there was some tasteful nudity — Mugler isn’t Mugler without a t*hanging out.

It’s easy to forget in the age of influencers and Instagram quick-fixes that fashion still can shock and transport. Time travel, rather. Really looking forward to the Chanel show now.

All images via Getty.

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