Chanel Couture Makes a Subdued Ode to Parisian Elegance in Fall-Winter Collection 

Models present creations from the Haute Couture Fall/Winter 2023/2024 collection by Chanel fashion house at the Paris Fashion Week, in Paris, France, 04 July 2023. (EPA)
Models present creations from the Haute Couture Fall/Winter 2023/2024 collection by Chanel fashion house at the Paris Fashion Week, in Paris, France, 04 July 2023. (EPA)
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Chanel Couture Makes a Subdued Ode to Parisian Elegance in Fall-Winter Collection 

Models present creations from the Haute Couture Fall/Winter 2023/2024 collection by Chanel fashion house at the Paris Fashion Week, in Paris, France, 04 July 2023. (EPA)
Models present creations from the Haute Couture Fall/Winter 2023/2024 collection by Chanel fashion house at the Paris Fashion Week, in Paris, France, 04 July 2023. (EPA)

The cobblestoned banks of the Seine River served as the stage for Chanel’s latest haute couture collection. With the Eiffel Tower in the distance, the well-heeled glitterati of the fashion world navigated the uneven terrain for an outdoor collection that celebrated the soul of Paris.

Mimicking the famed bouquinistes, those charming bookstalls lining the river’s edge, Chanel erected its own renditions. But upon closer examination, these weren't ordinary stalls. They were artfully curated homages to the brand’s legacy, showcasing biographies of the legendary Gabrielle “Coco” Chanel and postcards of actresses associated with the house, such as Vanessa Paradis, a modern incarnation of the Parisienne, who applauded from the front row.

Here are some highlights of Tuesday’s fall couture collections, including when The Associated Press caught up with French actress Clémence Poésy.

CHANEL’S PARIS

“This collection is the portrait of a sensitive yet bold Parisienne,” said Virginie Viard, Chanel's creative director. "It’s like standing on a line between strength and delicacy.”

Tuesday's assembly of tweeds, silk chiffons, organza and inlaid lace, in a myriad of floral and graphic motifs, was a testament to Viard’s vision of this rich and feminine universe.

Despite the sparkle and gleam of golden heels and buttons, the collection embraced a comforting simplicity.

Assured yet understated colors, flat-pleated golden tweed skirts, masculine-inspired overcoats, and delicately structured jackets all played into the subtle allure of the show. A standout piece was a dark blue asymmetrical coat-skirt with feathery tulle cascading from the lapel, fusing asymmetry with Chanel’s codes of rigor.

At one point, a model sauntered down the runway walking a black dog, a seemingly whimsical addition that had onlookers snapping away on their cameras. But perhaps the most quintessential Parisian touch was a fruit basket — a homage to the Parisienne of the 1970s.

Viard described her approach as, “Handing down emotions, bringing the most unlikely elements together, doing things your own way, just dreaming.” And through this collection, she masterfully transported us all to Paris, offering an emotional tribute to the enduring allure of the Parisienne, right on the quayside of the Seine.

POESY ON CHANEL’S BOOKSTALLS: ‘NOT YOUR USUAL BOUQUINISTE!

French actress and “Harry Potter” alum Clémence Poésy was in attendance at Chanel, and it seems the allure of the Seine-side “bouquinistes” had her under a spell. The scene, recreated by the house, was a charming tribute to Paris’ iconic riverside bookshops, so beloved by locals and tourists alike.

“There was a Parisian essence, being on the quayside of the Seine and having the bouquinistes in the beginning,” Poésy told the AP, her eyes alight with the magic of the show. “It felt like traveling through many eras of Parisians.”

The actress was especially enchanted by the French stalwart's playful nod to Paris’ past, which invoked images of both the ’70s and new wave cinema. But it was the bouquinistes — a regular fixture of her weekends — that truly captivated her.

“You stroll along the Seine and go into all these vintage and secondhand bookshops along the river and bridges,” she explained, recalling her routine. “You usually find something you would never buy anywhere else.”

Chanel’s unique on-brand installation, she chuckled, was decidedly “not your usual bouquiniste.” She added, with a fond smile, “I hope it stays there forever. It’s such a precious thing.”

LOVE STORY BEHIND CHANEL’S LITTLE BLACK DRESS

French actress Anna Mouglalis, known for her role as Chanel in the movie “Coco Chanel & Igor Stravinsky,” unraveled the romantic tale behind the creation of the iconic little black dress (LBD) in an interview with the AP.

Mouglalis, a current Chanel ambassador, said: “I fell in love with Coco Chanel when I studied for the role. I read everything."

Mouglalis disclosed the heartbreaking story behind Chanel’s universally adored LBD. Coco Chanel, devastated by the tragic death of her lover, Arthur “Boy” Capel, incorporated her mourning attire into her fashion line, giving birth to the LBD. Capel, apart from being Chanel’s great love, was also instrumental in helping her open her first store.

“It was incredible that the little black dress was made because she was mourning for Boy Capel. She never married. She loved him, it was her big love,” Mouglalis shared. “She was wounded and put the mourning into her fashions. Everything is so linked to her personal story.”

AN EXCLUSIVE NIGHT WITH GIORGIO ARMANI PRIVÉ

A rare commodity in the couture world - space - was generously offered by Giorgio Armani Privé on Tuesday night. VIPs gathered amid theatrical sidelights, hemmed in by giant beige silk curtains, emphasizing the private, exclusive nature of the occasion. The scene was set on a runway streaked with shiny squares of black and white, an ode to Armani’s couture trademark of geometry and sheen.

The collection unfolded, a vibrant blossoming of structured jackets shimmering with twinkling threads and 3D floral appliqués, transforming seamlessly into billowing, gleaming floor-length gowns. One standout blue jacket, encrusted with jewels, evoked visions of marine crystal formations, showcasing Armani’s detail-oriented craftsmanship.

Playful whimsy punctuated the collection with sculptural, giant black hoops encircling one model’s figure, as well as one slightly awkwardly-moving top constructed in poppies. The gleam remained constant, a kaleidoscope of rainbow hues reflecting off the luxurious fabrics.

However, amidst the extravagant display, a minimalist yet stunning black velvet dress stole the show. Couture’s chic answer to Morticia Addams, the floor-length gown was backless, tastefully embellished at the rear. It was a stunning reminder that in the world of Armani, simple elegance often outshines the grandeur.

MABILLE’S MODERN PARISIAN FASHION FETE

Imagine an elite Parisian fashion party; a blend of modern sophistication, effortless glamour, and a dash of playful spirit. This is the essence Alexis Mabille captured in his fall couture.

From the get-go, Mabille set the tone with a black floor-length dress that danced the line between fluidity and allure. Models graced the runway holding empty crystal champagne coupes, conjuring up images of a high-fashion soiree in the City of Light.

Playfulness met artistry as Mabille used his signature bows to sculpt a dress, while his enduring love for floral themes bloomed as white chest adornments.

As Parisian as a moonlit walk along the Seine, the collection boasted lacy bustiers atop sheer black Sahara pants, conjuring a modern yet sensual aesthetic.

In a pulse-quickening turn, the collection ignited with disco-era vigor. A radiant, earth-toned one-shoulder tunic gown brought a hint of the dancefloor to the runway, and a '70s-inspired magenta pleated skirt swirled with lively movement.

STÉPHANE ROLLAND IS BOLD AND POETIC

In true unapologetic Stéphane Rolland fashion, a Big Black Dress (BBD) opened his fall couture show. Complete with a provocative leg split and an exaggerated, whooshing collar, this piece was quintessentially Rolland, marrying structural audacity with elegant form.

The collection evolved from this daring opener, introducing more poetic designs that nonetheless maintained Rolland’s raciness.

One gargantuan white skirt was fashioned from paper-like sheets of silk. In a triumphant fusion of Marie Antoinette’s lavishness, punk’s rebellious spirit, and origami’s meticulous precision, this ensemble captured the whimsy and grandeur that define Rolland’s couture.



Indigenous Fashion Week in Santa Fe, New Mexico, Explores Heritage in Silk and Hides

A model wears a design by Lauren Good Day on the runway at the 2025 Native Fashion Show, Friday, May 9, 2025, in Santa Fe, N.M. (AP Photo/Roberto E. Rosales)
A model wears a design by Lauren Good Day on the runway at the 2025 Native Fashion Show, Friday, May 9, 2025, in Santa Fe, N.M. (AP Photo/Roberto E. Rosales)
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Indigenous Fashion Week in Santa Fe, New Mexico, Explores Heritage in Silk and Hides

A model wears a design by Lauren Good Day on the runway at the 2025 Native Fashion Show, Friday, May 9, 2025, in Santa Fe, N.M. (AP Photo/Roberto E. Rosales)
A model wears a design by Lauren Good Day on the runway at the 2025 Native Fashion Show, Friday, May 9, 2025, in Santa Fe, N.M. (AP Photo/Roberto E. Rosales)

Fashion designers from across North America are bringing together inspiration from their Indigenous heritage, culture and everyday lives to three days of runway modeling that started Friday in a leading creative hub and marketplace for Indigenous art.
A fashion show affiliated with the century-old Santa Fe Indian Market is collaborating this year with a counterpart from Vancouver, Canada, in a spirit of Indigenous solidarity and artistic freedom. A second, independent runway show at a rail yard district in the city has nearly doubled the bustle of models, makeup and final fittings.
Elements of Friday's collections from six Native designers ran the gamut from silk parasols to a quilted hoodie, knee-high fur boots and suede leather earrings that dangled to the waste. Models on the Santa Fe catwalks include professionals, dancers and Indigenous celebrities from TV and the political sphere, The Associated Press said.
Clothing and accessories rely on materials ranging from of wool trade cloth to animal hides, featuring traditional beadwork, ribbons and jewelry with some contemporary twists that include digitally rendered designs and urban Native American streetwear from Phoenix.
“Native fashion, it’s telling a story about our understanding of who we are individually and then within our communities,” said Taos Pueblo fashion designer Patricia Michaels, of “Project Runway” reality TV fame. “You’re getting designers from North America that are here to express a lot of what inspires them from their own heritage and culture.”
Santa Fe style
The stand-alone spring fashion week for Indigenous design is a recent outgrowth of haute couture at the summer Santa Fe Indian Market, where teeming crowds flock to outdoor displays by individual sculptors, potters, jewelers and painters.
Designer Sage Mountainflower remembers playing in the streets at Indian Market as a child in the 1980s while her artist parents sold paintings and beadwork. She forged a different career in environmental administration, but the world of high fashion called to her as she sewed tribal regalia for her children at home and, eventually, brought international recognition.
At age 50, Mountainflower on Friday presented her “Taandi” collection — the Tewa word for “Spring” — grounded in satin and chiffon fabric that includes embroidery patterns that invoke her personal and family heritage at the Ohkay Owingeh Pueblo in the Upper Rio Grande Valley.
“I pay attention to trends, but a lot of it’s just what I like,” said Mountainflower, who also traces her heritage to Taos Pueblo and the Navajo Nation. “This year it’s actually just looking at springtime and how it’s evolving. ... It’s going to be a colorful collection."
More than 20 designers are presenting at the invitation of the Southwestern Association for Indian Arts.
Fashion plays a prominent part in Santa Fe's renowned arts ecosystem, with Native American vendors each day selling jewelry in the central plaza, while the Institute for American Indian Arts delivers fashion-related college degrees in May.
This week, a gala at the New Mexico governor’s mansion welcomed fashion designers to town, along with social mixers at local galleries and bookstores and plans for pop-up fashion stores to sell clothes fresh off the fashion runway.
International vision
A full-scale collaboration with Vancouver Indigenous Fashion Week is bringing a northern, First Nations flair to the gathering this year with many designers crossing into the US from Canada.
Secwépemc artist and fashion designer Randi Nelson traveled to Santa Fe from the city of Whitehorse in the Canadian Yukon to present collections forged from fur and traditionally cured hides — she uses primarily elk and caribou. The leather is tanned by hand without chemicals using inherited techniques and tools.
“We’re all so different,” said Nelson, a member of the Bonaparte/St’uxwtéws First Nation who started her career in jewelry assembled from quills, shells and beads. “There’s not one pan-Indigenous theme or pan-Indigenous look. We’re all taking from our individual nations, our individual teachings, the things from our family, but then also recreating them in a new and modern way.”
April Allen, an Inuk designer from the Nunatsiavut community on the Labrador coast of Canada, presented a mesh dress of blue water droplets. Her work delves into themes of nature and social advocacy for access to clean drinking water.
Vocal music accompanied the collection — layers of wordless, primal sound from musician and runway model Beatrice Deer, who is Inuit and Mohawk.
Urban Indian couture Phoenix-based jeweler and designer Jeremy Donavan Arviso said the runway shows in Santa Fe are attempting to break out of the strictly Southwest fashion mold and become a global venue for Native design and collaboration. A panel discussion Thursday dwelled on the threat of new tariffs and prices for fashion supplies — and tensions between disposable fast fashion and Indigenous ideals.
Arviso is bringing a street-smart aesthetic to two shows at the Southwestern Association for Indian Arts runway and a warehouse venue organized by Amber-Dawn Bear Robe, from the Siksika Nation.
“My work is definitely contemporary, I don’t choose a whole lot of ceremonial or ancestral practices in my work,” said Arviso, who is Diné, Hopi, Akimel O’odham and Tohono O’odham, and grew up in Phoenix. “I didn’t grow up like that. ... I grew up on the streets.”
Arviso said his approach to fashion resembles music sampling by early rap musicians as he draws on themes from major fashion brands and elements of his own tribal cultures. He invited Toronto-based ballet dancer Madison Noon for a “beautiful and biting” performance to introduce his collection titled Vision Quest.
Santa Fe runway models will include former US Interior Secretary Deb Haaland of Laguna Pueblo, adorned with clothing from Michaels and jewelry by Zuni Pueblo silversmith Veronica Poblano.