Decoding Paris Haute Couture: Wonder, Restraint and the Call of the Void

Paglalarawan

I missed couture season for the first time in years, but that made it even more valuable for me to catch up with Tim Blanks on everything that happened this week in Paris amidst a record breaking heatwave. At Chanel, Mathieu Blazy built his sophomore couture collection around a fairy tale he found in Gabrielle Chanel's own library.. Dior's Jonathan Anderson tore down the walls of the usual tent in the gardens of Musée Rodin, staging an open-air show inspired by the sculptor Linda Benglis. And Michael Stewart, an independent London designer debuted his very first couture offering, working obsessively to achieve his vision of craft through his signature beading technique.This week on The BoF Podcast, Tim Blanks joins BoF founder Imran from Paris to break down the Haute Couture season that was.Key Insights: The Race for Over-embellishment: The couture season exposed a risk of historic houses over-indexing on extreme metrics such as hours of labour or bead counts to project status over pure visual beauty. As Amed observes: "It's almost like in some cases, there's a race to create the most elaborate, the most extreme ... so that people can trot out these statistics and say, this took 17,000 hours or this took you know this many beads or whatever... People are just taking it to an extreme that strips the beauty away.”Chanel’s Fairytale Narrative and the Fluidity of the Body: Under Matthieu Blazy, Chanel rejected restrictive construction, deploying generous silhouettes, inspired by a book of fairytales, found in Gabrielle Chanel’s library. Highlighting his creative decision, Blanks notes: "Matthieu was thinking about fairy tales... He called it ‘Gabi and the Beanstalk.’ And then so the whole show. Meshed all these fairy tale elements, very integrated them really fully... just the story, like this is what Matthieu was talking about, the narratives that fashion can expand on."Dior’s Experimental, Open-Air Laboratory: Jonathan Anderson treated his sophomore couture collection for Dior as an evolving work-in-progress, liter