Dear Shaded Viewers,
Where do I start with an action packed week? The art of couture has been under threat ever since the invention of the sewing machine in 1830 and the paper pattern in 1863, yet in 2026 with two new senior appointments, a feast of smaller names filling the schedule and today’s resurgence of interest in craft, the week was thrilling. Of course, the wonderful Lyas helped with huge screenings in front of excited audiences for some of the shows. There were also crowds watching arrivals and departures at even the smallest shows, reflecting couture’s continuing importance in a world where the “artificial,” be it intelligence or upstart “creative directors” are feted. It also demonstrated how real this highest level of fashion can be as far as the global audience is concerned. It’s not just the Schiaparelli of Daniel Roseberry it is the couture by people like Kevin Germanier or Rami Al Ali that gather crowds to fill the rooms, new approaches to the art of couture, new names and new stories and the sheer bloody beauty of the work.
It’s also very importantly not about what you like or don’t like, it’s about how amazing it is that over nearly two hundred years Paris gathers the finest and the fascinating under the aegis of the FHCM for a few days every season and those of us lucky enough to attend get to sit in the room with this laboratory of fashion. What’s interesting is that the attendees range from eighty plus Suzy Menkes to early thirties Hanan Besovic (@ideservecouture with already five years of informing and commentating on fashion behind him). The social media flourishes during couture uniting the oldest element in fashion with one of the newest. Posting, commenting, likes and collaborating is the language of couture from the clients and celebrities attending to close ups of the embroideries. The special moments like the finales of Stéphane Rolland or Viktor and Rolf go viral and the go see images of Schiaparelli the day after the show are treasured and pored over across the globe, my own at the time of writing have 8k hits.
Photo by Sonnyphotos
So, let us start with the two hottest couture events – Jonathan Anderson’s first couture at Dior on Monday and Matthieu Blazy’s first couture a Chanel on Tuesday. It’s important to remember their differences, one house originated in the 1900’s and is famous for its modern approach to fashion, easy dressing and menswear influences from England, and also as Karl Lagerfeld once pointed out, the only house whose founder had a 15 year gap and then returned and reinvented her past signatures?
Christian Dior was only in charge of his own house for ten years from 1946 to 1957, and his post war nostalgia for Fin de Siecle fashion, flowers and femininity with the New Look was in direct contrast to the freedom Chanel sought in clothes. Indeed, her dislike for Dior was part of her reason to return to fashion.
So, at Dior Jonathan Anderson offered an eclectic and artistic couture with balloon shapes and spirals, looped fabrics, and drapery. I wasn’t sure at first but after careful analysis it’s the quieter pieces and the use of cream, off white, ivory and pure white that seems strong as a thread in the collection, plus of course black and white, and this also offers some of the most interesting and complex pieces. A white bubble dress, a black and white spiral cut trellis look, with a white furry throw, a black tweed short jacket and wide pants, a white ribbon knit sweater and pants; a white and a black multi layered and tiered ruffle dress with raw/fringed edges. Black velvet twisted and draped into a goddess gown with scattered white satin quilted flower decoration, a complex black mousseline dress of shredded petals with a white overlayer with minuscule beads scattered on each petal, a bone coloured knitted dress draped in with a black satin ribbon, a white bubble dress encrusted with white on white embroidery like sugar crystals, two long black coats; one in faux croc the other tailored, an ivory white curving short ballerina dress covered inside and out with matt sequins, a black pants suit with the jacket edged and collared with twisted spiral of silk satin. Also, an ivory white suit with tuxedo collar and bow drape, an ivory white top with cut work shown with a matt sequinned shirt skirt and ivory draped knit, pants, and cascades of bud like decorations, an ivory figured brocade with the raw edged petal embroidery again with the tiny black stamens. I hope this is making it clear that in spite of the floral earmuffs and cascades of orchids at its heart this collection featured coats and suits, sweaters and pants and real clothes. Examining this collection is a true example of not trusting first impressions. There is a balance between the eye catching, the special, and the wearable and commercial. Couture should provide options and a complete wardrobe from day to night; Mr Anderson can accept my compliments on ticking every box.
Chanel was Matthieu Blazy’s third show, following womenswear, Metier’s d’art and now his first couture. I am not going to comment on the mushrooms and the setting or anything else because it is the clothes that count. In this collection too it’s not in the usual sense of the word about fashion, it’s about great pieces for the couture customer to invest in, truly investment dressing. There is simply no need to evaluate Chanel in thousands of words, Blazy concentrated on real clothes, there were far fewer long evening dresses than in Karl Lagerfeld’s day, instead the show focussed on two things, the heart of Chanel’s signature; the day wear and “suits”,and the skills of the petits mains. Since the company Chanel own everything in the way of heritage ateliers from feathers to buttons, this in turn resulted in clothes where close up, details, understanding the exquisite refinement of the luxury of couture is essential. A quick scroll through is the last thing these pieces require, it is about focus and reading the fragile, delicate, and extraordinary pieces where tweed and textures are realised in techniques that take your breath away. A silk mousseline look with minuscule silver chain edging of beads and cuffs finished like jewellery, a braid that is in fact densely frilled silk mousseline, surface texture looking like fabric but actually entirely embroidered, layers of weightless silk fabric where the metallic edging stops the fabric from floating away. Silken threads forming feathery tassels or floating around the garment, layered ombré effects in fringe and tassels of silk, tiny rows and rows and rows of beading, on top of which there’s more beading. I think several of the feathered looks are actually silk fringe printed to look like feathers?! Although there are also real feathers used in the collection. Within the tightly edited fifty four pieces a lot of black, some very severe until you note the tiny black on black silk braid, or the jewel like buttons or on sheer black the tiny pearl hem. The colour palette seemed inspired by flowers with rose red, jonquil yellow and leaf green, with a sweetness that is never sickly, and a joyfulness. It’s the overall feeling of romance, fragility and care that imbues the entire collection, and yes there’s huge pink mushrooms and rosy weeping willow trees surrounding the models but it’s the clothes, the truly heart stopping clothes that call out to the viewer. In a world of conflict, unrest and worries, fashion at this level should be about beauty and in this Monsieur Blazy has our full approval and attention, this collection is simply beautiful.
Now, let turn to the official schedule for the week.
Monday January 26th
Schiaparelli has had a huge renaissance since the arrival of Daniel Roseberry, his centre stage boldness, and his respect for the traditions of the house are supreme. He knows how to use the couture ateliers to perfection and the team accomplish anything his heart desires. This season the complexity of the work of some of the pieces had to be seen in close up, and the dense embroideries, feathers, shadings, and techniques employed were breathtaking. If the collection felt slightly disjointed in spite of the theme that is also to accommodate different clients’ expectations. I loved the ombré effects on some of the quieter pieces and also the delicacy of colour in the collection, and the floral inspired elements seems exquisite. The lightness of touch only possible through haute couture workrooms was in contrast to the more extreme pieces and I love that the collection contained both aspects. The theme was “The Agony & the Ecstasy” I saw Good and Evil, Heaven and Hell, Air and Earth and natural and unnatural. To better interpret the theme as ever Monsieur Roseberry is also past master at the important couture element of seeing each piece as 360 degrees so side and back views are as lovely and as important as the front view. So curving horns and wings to enhance the theme grew from any point he so chose. To quote a certain Mr Kenneth Williams “Bold!”
photo by Sonnyphotos
Georges Hobeika opened with dress after dress in slender silhouettes, and in colours so hard to des robe, like pale or shadowed versions of cool neutrals, the slow progress of the models reminded me of the ballet La Bayadere where dancer after dancer follows the other in the Kingdom of the Shades. It was mesmerising and each piece, I counted eighteen, was completely different from ballerina to sirens yet they were harmonious in the use of this exquisitely subtle palette. Later palest la ended was seen and then later a rich deep spectrum of claret, raspberry and cranberry was used. My favourite dress was in this deep crushed loganberry shade in silk mousseline draped and wrapped and then trailing and floating in long panels, forming a panel around the neckline, the shoulder straps and into the deep v back was embroidered with droplets and beads in toning colours, divine. The collection was never overstated, fussy or over designed and even a superb 1001 nights dress of golden baroque embroidery shaped like a bubble wore its clever construction lightly.
photos by Sonnyphotos.com
Rahul Mishra evoked the planet from fire and volcanic eruptions to ice and snow, he showed how the swirl of a blizzard can be transformed into a swirl of embroidery, how the flames of fire can be mirrored in tulle stretched across wire frames and embroidered to shimmer and glow as the real thing, how to send out a long sinuous dress picturing lava flowing and then sequin and beads becoming the sparks such heat contains. One breathtaking dress was embroidered with the layers of the earth’s strata or the depth of organic stone, the subtle shading and tones were like quartz undulating around the body, but it was not sparkling and glittering, but with a sheen and a shine reflecting the nuances and beauty of natural form. Ice formed around the model in sheer and sequinned frozen sharpness, indeed as each model passed the temperature visibly altered, this was a statement reminding us that fashion does not exist in a vacuum but in a real world, and nature must be respected.
Imane Ayissi had a severe back problem, so no conventional show. Instead, the collection was shown on four models each dressed in front of our very eyes from a rail holding the collection. Verdict? Terrific. It showed us exactly how these clothes work to take on and off for the wearer, it demonstrated how the couture of each piece adjusts to the body and how with many pieces the final touch was the model herself settling the piece to her satisfaction by a tug at the hips, a rearrangement of a shoulder drape, or even zipping up the piece and striding straight forward. A suit in blue square brocade with a huge bow across the shoulders, the acid green silk taffeta top and slim trousers with a huge swathe of raffia fringed stole, wrap or indeed overskirt, the fuchsia peplum jacket worn with a sunflower yellow slip of a skirt, or the black taffeta slender draped top and origami skirt all demonstrated the designer at his pinnacle, and I hope he heard the applause. The models were terrific in their performances, and it was a joyful audience who laughed and applauded the few hiccups. The final four dresses with huge Rothko like painters prints on simple panels dresses were perfect, ageless, sizeless, timeless and so bold. Congratulation Monsieur Ayissi on a really brilliantly edited collection encapsulating your signatures to perfection.
Tuesday January 27th
Photos by Sonnyphotos
Gaurav Gupta was a show of many beautiful couture pieces but needed some editing. The sweeping drape and drama, the waves of fabric enfolding the models, the saffron and ruby red, and the voluptuous swathes were wonderful. The shrugs and coats trailing behind the models as they wandered through the space, the trailing panels and shivering beading were true to the core of his vision. Since his first couture what we love is the organic and the elegance he combines in his feeling for line, exactly as a true couturier should. The influence of his own culture is balanced with a modernity in forms and techniques; his vision is his alone. The huge red tulle crinoline with a peplum of waves and a long sleeved bodice woven of filigree tendrils was perfection, but the red slender red satin dress accompanied by a long trailing coat entirely constructed of shredded red tulle flowers was spectacular. Surely both of these looks must soon be seen on glossy covers, award winning movie stars, and Red Carpets across the world.
Stephane Rolland showed his collection at the Cirque d’Hiver, and from the moment we entered the space magic was in the air, uniformed teams ushering and preparing the stage, lights swaying around the circular space. As the models appeared we knew this was the perfect setting for the collection inspired by pierrot, clowns, Picasso, Les Enfants du Paradis, Deburau, and Fratellini. The music took us from Sondheim to Astor Piazzolla nd the models passed and circled the stage in measured movements. Trains and drapery spread out behind them, panels and ruffles fluttered. There were no overdone references, a flower like series of petals standing up in layers around the models face, an enormous ball gown in black with undulating waves in with the ripples of the fabric catching the light, a red sequinned look whose curved and folded panels echoed clowns trousers, a use of white recalling traditional pierrots, a sheer black pailletted gown with huge scroll of white unfurling around the neck and down the back, a centre stage drapery of deep old gold sequins and a seemingly ill gown of heavy satin encrusted with embroidery which hinted at the capes performers whisk off to reveal their trapeze leotards. The show closed with an aerialist appearing through clouds swaying and suspended in the heights of the space with the wind blowing the multitude of panels of silk like a bird and indeed doves also flew around the space. To me it definitely recalled Babette the great trapeze artist from the 1930’s, yet Monsieur Rolland always takes his themes and then uses them only as a hint, it is the soothes, and his signature clean architectural lines that hold the centre stage.
photos by Sonnyphotos
Ronald van der Kemp chose to stage his show as a fashion shoot, ready with his camera as each model appeared she posed and he shot, directing here and chatting along with each one of them. The clothes, hats and jewellery were all designed and created by him with his amazing team, and he explained afterwards that the collection was a tribute to couture and all the great couturiers. The show reflected perhaps Blow Up the great film with fashion and photography at its heart by Antonioni made in 1966, and the pieces traversed the splendour of couture from Yves Saint Laurent, Jean Louis Scherrer, Nina Ricci, amongst others, at that time. Multicoloured layers and daring mixes of pattern, print and embellishment offered stunning looks from a jacket and short skirt, to a long slender skirt and bow decorated top, to a silvery African sheath to a bustier and swirls of printed mousseline to a black fur drenched look worn short with black tights and spike heels to a slender ivory column dress with architectural appliqués. It was as ever a complete wardrobe from day to night and from brilliant exuberant colour to classic monochrome. Each and every look worked as a statement and yet the collection retains one vision, thus making it coherent and strong. The yellow and black silk and velvet evening dress was absolutely stunning and had a hint of Christian Lacroix and Garouste and Bonetti which made my heart beat faster.
Wednesday January 29th
Alexis Mabille. In the film we watched of a cyber fashion show I wanted the technical details explained, the models, the audience the clothes, what was real? However, the key things are the clothes, and these were Monsieur Mabille strictly editing and focussing. He makes beautiful clothes and he has several signatures such the DB evening dress, the flirty cocktail dress, the bow in every variation and his wonderful use of colour. All these were in evidence in this tightly edited collection. Since the show, some controversy has appeared on the use of modern technology for a presentation, so it is a discussion point. I suspect it was for one season only, I have seen all Monsieur Mabille’s collections since his very first static presentation in the Angelina Salon de The. So, photography, salon show and full blown catwalk have all played their part in showing his clothes, alongside the American Trunk Show. It is about running a business and if methods and styles change to suit the season that is as clever as designing the right pieces for the clients to buy.
At Franck Sorbier, the performance and the story, the casting and the dancers are always strong with Monsieur Sorbier, but the bottom line is the clothes. This season there were many terrific pieces and looks and this is what really set him apart. The dresses all set for Guingette, that particularly French waterside social phenomenon, the summer prints on both white and black, the handkerchief point dresses like an assemblage of scarves, the edges left delicately raw. , the neat laced up bodices, an embroidered organdie triangle shoulder scarf, a pale pink dance dress or a lender back filigree lace dress. It was a collection firmly placed in the romantic vein but with an implicit sexiness underlining the pieces, from bustier to short and flirty it perfectly balanced a range of looks to appeal to a series of different women not just a designer’s single muse.
Photos by Sonnyphotos
Yuima Nakazato always thinks deeply about the environment and his connections to the earth, the very ground we tread. He also explores how clothes are constructed and assembled, once showing a complete collection with no zips and little sewing. This season the white porcelain decorations cascaded down many of the looks and indeed their sound melodiously accompanied the models. They seemed based on shells or pods, open to reveal silver or deep luscious fruit colours, or natural earthy swirls of colour. The fragile and seemingly haphazard knitwear underpinning many of the looks was white filigree of patterns almost like skeletons of perhaps a fish or some strange undulating creature. There were also some amazing pieces where the fabric had apparently been scrunched and crushed and then been printed with rich gold over the top so that transformed into garments it gleamed as though rescued from a temple or an ancient tribal culture. The slow rhythmic pacing of the models, the sound of two pods being rung together in a repeat pattern by the designer, the slight mist in the air of the cathedral, where the show took place, all added once again to a unique presentation of a unique collection. Yuima Nakazato is a visionary, and he honours us the audience by sharing his vision with us, it is less a couture fashion show and more an experience. We in the audience always leave knowing that this collection, its presentation, and its impact will remain in our thoughts and provide us will images for long after the moments of the actual event.
Mr Valentino loved to talk about beauty and this season at Valentino Alessandro Michele seemed to be talking about lots of different ideas of beauty in fashion. Paul Poiret, Erte, Ziegfeld Follies, or Adrian dressed musicals seemed to fuel the show girl gowns. Whilst the draped opening dress was pure 70’s glam. A gold pleated dress could have been worn by Rita Hayworth or Marilyn Monroe, the golden jewel encrusted backless top and draped kingfisher blue jersey skirt evoked Madame Gres, and the pink moire jacket with huge, puffed sleeves was pure the leading lady in a Feydeau farce. This leaping countries, decades and genre was in a sense offering the couture client options, at the same time declaring that trends are out of fashion. The celadon green suit could have graced any Vogue cover in the 1950’s whilst the emerald green gown was almost ceremonial in its severity. It was a “collection” in the sense only that each piece was indeed beautiful, and it that sense it remained true to the vision of Mr Valentino.
Photo by Sonnyphotos
The roar of approval, the standing ovation, how could it be otherwise for Viktor and Rolf after this show. We were facing a huge screen (onto which close ups and film of the progress and working of the show was projected) with an extremely broad but narrow stage in the front, a slight dais with some steps was in the middle. Viktor and Rolf stood either side of a model dressed in a short white dress at the top of the raised section. The show consisted of each model entering in a different long black dress, each very beautiful in its own right, but on each dress was a brilliant pieces, such as a pleated ruff, or small curved panniers on a ribbon, as each model appeared the detail was removed and added to the static model in the middle, until later the accessories on the black dresses were poles, now inserted into the expanding creation. Finally, she was revealed to be a “kite” and on the black dress of the final model was a tail of yellow ribbons which they attached as the model “flew” into the air. So, although the final look is much featured on social media, the collection was a great deal more interesting, clever and with a brilliant proposal at its heart than simply that spectacular finale.
At Zuhair Murad the first thing I thought about was the colour, with a Rococo Madame de Pompadour chic in mint green, frosted apricot, petal pink and so on it had a great delicacy, also in tinted neutrals like a grey green, a straw beige and so on, the sort of colours that slightly defy naming them, shades between shades, if you know what I mean. The shapes were superb with the slender silhouette surrounded by sweeps of fabric, panels that fanned out, scarf like training panels, panniers, and bubbles of fabric. Skirts that stayed strict to the knee then swooshing out into flounces, and cover ups with a strong hint of Cristobal Balenciaga bubble silhouettes. Some pieces looked like fashion drawings in their bold lines, and strict cleanliness, this season the embroideries outlined, added, emphasised, and completed the shapes. There was also some very Francois Boucher florals on a few pieces, and I think I might say romantic splendour was the way the collection came across, even the solid embroidered dresses had sweeps of silk taffeta with them, and the strongest colours were still light and transparent like gems, as for example an aquamarine or rose quartz, beautiful
Photo by Sonnyphotos
The climate, the planet we inhabit, and its importance was the setting for several designers this season. Robert Wun used huge screens showing dramatic weather from storm clouds to a full thunderstorm behind his presentation. The drama, and the tailoring was superb and the gesturing hands were more sympathetic than the multiple arms of last season. I rather missed the drapery he is so strong on, but the powerful silhouettes, the extravagant ball gown that closed the show shimmering with embroidery like a universe of constellations were Monsieur Wun at his peak. The black taffeta swirling coat ornamented with black birds, the black to white ombré with severe tailoring, the red on ref, on red on red, velvet, wool, crepe look as it trailed like split passion across the stage was amazing. Then again red on red look in solid sequins, and mousseline with a moulded red plush bustier was operatic diva to the ultimate degree. The crinoline skirt of satin pleats, in black ombré to electric blue, worn with a fitted peplum jacket in solid blue sequins, topped by a huge veil in the same blue weighted by heavy bands of sequins and help aloft by a hat featuring a gesturing hand was completed by blue talon nails on sheer gloves, blue drop earrings and the heaviest blue eyeshadow. It’s about the balance of each entrance as individual fashion moment totally thought through at the couture level of attention to detail.
Thursday January 30th
Aelis is to me something special, I love the aesthetic of Sofia Crociani and this season she was on top form. The quiet Giselle like grace, the sweet melancholy and the weightless charm was one hundred percent present. The collection paced slowly past with the wonderful drape and sweep she handles so perfectly, a tiny stitch or two here, some neatly pinched tucks or pleats, a twist of fabric across the shoulders or a panel split to waft in the air. There was pale sky blue taffeta rusting past with a peplum, a dress that floated to the floor was held with tiny pinch pleated tucks just at the centre back, a white goddess dress folded and unfolded around the figure as the model seemed less to hold it to walk and more to stop it drifting away. A tiny silver brocade Spencer jacket over a long white dress, a dress in filigree lace and mousseline in shades of pale wine, a collection where each fabric is respected such as the old lace which formed a simple medieval tabard dress or the clean white tailoring with its immaculate lines. A truly vintage collection every sense of the word.
There is something in the way Peet Dullaert designs that resonates with me personally, and I am going to try and explain and dissect it. Each season he creates clothes that include tailoring and drape, he likes couture folds, this time he tailored a sharp ice white tuxedo with an apricot sorbet taffeta skirt simply by somehow folding the one into a ruffle over the other. As an example of his quirkiness look at the sea foam green bustier worn over a white shirt. The lines of glitter and the sheer organdie were not tightly fastened but simply hugged with a single fasting as did a white corselet worn with black sequin and paillette fringe. The trailing ribbon is a recurring theme, and this might evoke Dutch masters, Velasquez, or Rococo, this season it was seen in black, pale violet and blue. Indeed, blue is often an accent colour, there slightly rumpled and askew details scattered throughout the collection this season fragment of finest Chantilly lace was slipped under a heavily sequinned bodice front. Glitter and sequins or diamanté often appear but in a slightly tarnished Art Deco away, more silver screen than disco or glamour. Tulle as a mist or veil is apparent but always softly wispy, this season as a trailing ruffled tutu over a black pants look. I could go on and on but will finish by saying there was more menswear this season, all of which I would wear in a heartbeat! In a word, gorgeous.
Rami Al Ali although he is so experienced and with a faithful clientele it has taken some years for the beautiful collections of Monsieur Al Ali to find their place in the couture calendar. He is where he belongs with exquisite clothes, a deliciously balanced line between soft, sheer, and seductive, and stricter and stiffer. His embellishments are heart stopping with his culture discretely inspiring the patterns, or lines of the garments, but also often allowing the beading, folding or details to fade and blend, enfold and unfold. The workrooms produce effects not seen anywhere else and the designer understands how to place them with the lightest of touch. Even the more structured details or stiffer fabrics have a breeze blowing through them, it is the perfect example of couture making the impossible seem easy.
Photo by Sonnyphotos
Miss Sohee shows how each of us has a different idea of beauty, innovation, the special or experimentation in fashion, and haute couture especially is often characterised by beautiful pieces. In her second catwalk collection Miss Sohee again focussed on a classic couture, mixed with Chinoiserie, Korean traditions, and a deeply romantic, lush, and decorative approach. It was stunning, and the embroideries, the references to a kind of 1950’s couture, slender Chinese silhouettes, and exquisite details was perfectly realised and handled. Every look was perfect and the colours, proportions, and loveliness of ever centimetre was in total harmony with not a single ugly or out of place stitch, ruffle or trimming. The audience were both wearing looks from the house and loved every minute of it, it is best to look at pictures, since describing a look or singling out a favourite is impossible. It is a special kind of beauty and a very personal approach to couture in 2026, steeped in tradition and glamour and it sits within the spectrum of the weeks shows perfectly.
Photo by Sonnyphotos
I missed Germanier and I am furious because it looks terrific and I am a huge fan. It started too late for me to attend I had to leave Paris. I love the images: of the colour, especially the frosted icy blue two looks, the shapes, the construction, and the whole thing looked like Kevin Germanier at his best. He has a totally original and personal take on designing clothes, and always has, his decoration and embellishments somehow combine modernity, playfulness, art, and couture traditions, all in one coherent and strong message.
That’s it and of course I missed a few shows including Valentino, and a couple I’d rather not write about, but I also did Mouna Al Ayoub Dior Auction preview, Doris Brynner Auction preview, Patou catwalk show, and several high jewellery appointments plus the Azzedine Alaïa- Christian Dior exhibition at the Fondation Azzedine Alaia. Thanks for reading!
Later,
Tony Glenville
