Nonchalance, escapism and denim at Haute Couture Week in Paris

Couture as a cure-all for everyday use appeared to be the motto of the Haute Couture Fall 2023 season in Paris. While fatal police shootings of 17-year-old Nahel Merzouk triggered a wave of partially violent protests in the French capital, fashion's elite indulged in the finer things of life and high tailoring.

Some collections seemed to mirror what was happening in the real world, not that they could have foreseen the cultural moment in which their collections would see the light of day as they had been in the works for months in advance. Nonetheless, some shows showed surprising restraint and a touch of casual, a word rarely associated with Haute Couture, while for others, opulent surrealism and idealised worldviews took centre stage.

Restrained surrealism and a touch of realism

Current Master of Surrealism, Daniel Roseberry for Schiaparelli, took after Elsa Schiaparelli herself and looked to artists for inspiration. His collection, certainly less controversial but no less masterful than last season's faux taxidermy lion heads, held traces of Yves Klein and Lucian Freud and was, fittingly, titled “...and the artist”. Notably, according to the New York Times’s chief fashion critic Vanessa Friedman, this had been a last-minute change from “Purgatorio”, part two of a show trilogy inspired by Dante Alighieri’s Divine Comedy, an Italian narrative poem.

There were fluid but exaggerated black and white coats with experimental shapes, a hint of sheer corsetry and garments reminiscent of an artist's colour palette, as well as sleek black looks that were contrasted by vibrant Yves Klein Blue and the brands' trademark gold. Of course, there were the odd ones out – wooden arms and caterpillar silhouettes included – but while surrealism still reigned supreme on the Schiaparelli runway the collection leaned, for the brands' standards, on the quiet side and made it possible to take in its mastery without too many gimmicks or distractions.

No gimmicks or distractions carried on and over to Dior, where creative director Maria Grazia Chiuri presented a collection that was as simplistic as it was delicate. The designer drew inspiration from muses – both Greek and Roman – and dressed them in delicate white silks, and sheer gowns fit for nymphs and minimalistic tunics. Most noteworthy perhaps, were the flat shoes that carried the models over the runway, a trend that would continue to run throughout couture week where sky-high heels were replaced by ballet flats and their contemporaries. As contradictory as it might seem to the age-old “high heel index” that suggests that the lower the economy the higher the heel, practicality in footwear seemed to be at the forefront for fall 2023, even if the shoes were paired with humongous taffeta and lace ball gowns as was the case at Giambattista Valli.

Prêt-à-porter or Haute Couture?

Thom Browne brought the drama to his couture debut, however, it was the choreography of the show and its storytelling that spoke much louder than his signature grey suits that were rather reminiscent of his ready-to-wear collections, which in turn have always had a couture feel to them. Perhaps it is just that at which Giorgio Armani took offence, telling the Italian newspaper La Repubblica that “it is increasingly difficult to distinguish between high fashion and prêt-à-porter, because the former is increasingly normal, and the latter is always more elevated” – reason enough for the couturier to consider a move back to Milan to show his Armani Privé collections in his Italian hometown in future seasons.

Armani’s words rang true, just like his collection stood out. Whether it is because he continues to present couture in its truest form, heavily embroidered evening wear that most mortals would have a hard time finding an occasion for, or because many designers have since redefined the true meaning of the word, remains open for interpretation, however, it is undeniable that this couture season had an unusually casual air to it.