Paris Haute Couture Week drew to an end on Thursday. From surrealism to gothic dystopia, here are five trends from the runway.
Romantic maximalism
Rahul Mishra loves telling a story, and this time it was the story of love. He showcased romantic maximalism, featuring embellished pearls, 3D flowers, gold threads, sheer fabric, sketches of human faces on fabric, voluminous silhouettes, and more. The emotional undertones were evident with the dramatic display.
Upcycled gothic dream
It was Glenn Martens’ debut at the couture week, and he brought forth a dystopian-inspired collection that screamed deconstruction (using upcycled materials, so a nice juxtaposition there). He started with clear plastic looks and full-covering face masks, then transitioned to paper, photocopying, hand-painting, junk jewellery, and tin plates beaten into some of the masks. The collection featured metallised velvet drapes and recycled biker jackets. It was a haunting display of gothic and dystopian elements in a refined way.
Surrealistic vibes
{{/usCountry}}It was Glenn Martens’ debut at the couture week, and he brought forth a dystopian-inspired collection that screamed deconstruction (using upcycled materials, so a nice juxtaposition there). He started with clear plastic looks and full-covering face masks, then transitioned to paper, photocopying, hand-painting, junk jewellery, and tin plates beaten into some of the masks. The collection featured metallised velvet drapes and recycled biker jackets. It was a haunting display of gothic and dystopian elements in a refined way.
Surrealistic vibes
{{/usCountry}}Subtle messages and loud surrealism, that was the core of the show, as brought to light by Daniel Roseberry. He sprinkled subtle references all over the show, going back to Elsa’s earlier works. Also, things going on backwards is a widespread fashion trope of the moment, which was clear in the corseted satin dress constructed with a fake torso and breasts in the back, with a pulsating red rhinestone heart necklace hanging just below the nape. Other elements included tulle, tweed skirts, polka dots, sheer, corsets, metallic whites and blacks (with loud reds) and even ruffles. This is surrealism; anything can happen.
Wearable science
When we think of bioluminescence, what comes to mind? A very scientific visual of organisms lighting up in the dark. Now, Iris Van Herpen took this phenomenon and delivered a fabric that was ‘alive’, made from a material containing tubes of living bioluminescent algae, which glows in response to the movements and warmth of the design’s wearer. This put forth the concept of being able to wear something that is naturally occurring in nature and make it fashionable. The bridal dresses in the collection were made from Brewed Protein (a biomaterial made from fermented sugarcane). There were also lattice-like structures in weightless “air fabric” from Japan, filmy printed pleated wings, cascading gills, and dresses constructed in fine metal mesh that were meant to look like worn coral.
Feathered fantasy
Feathers gathered on the runway for Viktor & Rolf's show, adorning extravagant headgears that puffed up the silhouettes. These feathers with paired with organza and sheer fabrics mixed with other materials to play into pillowed-up silhouettes. The feathers also took many colours from neon greens, pinks and multicoloured. These were perfectly balanced with playful looks of a long dress in dotted swiss, inflated coats, ruffled dresses sprinkled with some floral patterns, here and there.