During the bustling rush hour of the couture shows, a convoy of black cars made its way from Paris to the idyllic Château de Chantilly. The guests, adorned in vibrant attire, emerged from the vehicles and strolled down a long stone pathway, surrounded by reflecting pools and well-manicured lawns. As the golden hour set in, the enchanting Valentino show commenced, featuring none other than Kaia Gerber in a pair of jeans and a white shirt. But these weren’t your ordinary jeans. They were crafted from silk gazar and intricately embroidered with micro beads in 80 different shades of indigo, resembling denim. It was a magical transformation.
The prominence of jeans, or their haute couture equivalent, has been a notable trend this week. Valentino’s collection also showcased upcycled Levi’s from the rare 1966 big E edition, embellished with gold appliques, paired with a plunging sleeveless white shirt and a deep sapphire blue knit coat. Jean Paul Gaultier’s collection, designed by Julien Dossena, featured jeans adorned with trompe l’oeil beading, while Balenciaga displayed distressed jeans made from oil-painted canvas, a painstaking process that took months.
Luxury imitations of jeans are not entirely new, as evidenced by Matthieu Blazy’s previous transformation of leather into denim for Bottega Veneta. However, this trend signifies a shift towards a more essential approach to couture. Rather than being solely attention-grabbing crystal-laden garments, these designs embody a sense of secrecy and exclusivity. The wearer alone knows the effort invested in creating such seemingly simple pieces, which can only be produced by hand. In the era of artificial intelligence, this craftsmanship becomes a precious rarity.
“Casual couture,” as Demna described it, emerged as a central theme this season. Against the backdrop of civil and economic unrest, this approach is both strategic and creative. Chanel presented its show by the Seine, with models casually strolling and carrying straw baskets as if they had just visited an open-air market. Virginie Viard incorporated frumpy proportions but excelled in embroidered jeweled fruits and flowers, evoking a picnic in the park. Similarly, Jean Paul Gaultier paid homage to familiar designs while incorporating lesser-known collections, resulting in a bricolage of everyday characters.
Of course, there were exceptions to this understated trend, such as Giorgio Armani’s ode to the rose. However, even in a sea of opulence, a single plain black velvet gown stood out, showcasing the appeal of simplicity.
Pierpaolo Piccioli explained his choice of Château de Chantilly as a subversion of the surroundings rather than an embrace of royalty. The exquisitely lush and tactile garments were designed to evoke a nonchalant elegance, a white sequined dress slouched off one shoulder like a workout top, or a ruby cashmere coat casually donned like a bathrobe. The point was to challenge conventional aesthetics and redistribute the hierarchy.
Demna’s work at Balenciaga has reflected a similar paradigm shift, particularly evident in this collection. Silhouette took center stage, with funnel-shaped necklines and trompe l’oeil techniques applied not only to denim but also faux fur coats and garments molded to appear frozen mid-gale. The final look was a 3-D printed dress coated in chrome, resembling armor and lined with flocked velvet.
Demna likened couture to an antivirus for fashion, countering the superficial creativity and endless marketing that has saturated the industry. It serves as a reminder that true craftsmanship cannot be replicated easily. Viktor & Rolf’s 30th anniversary collection encapsulated this sentiment through a whimsical revamp of past show concepts, transformed into bathing suits. In essence, it conveyed a simple message: “Dream On.”
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