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.



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”