Dior and Schiaparelli Bring Historical Reverence to Haute Couture Week in Paris 

Models present creations for Christian Dior during the Women's Haute-Couture Spring/Summer 2024 Fashion Week in Paris on January 22, 2024. (AFP)
Models present creations for Christian Dior during the Women's Haute-Couture Spring/Summer 2024 Fashion Week in Paris on January 22, 2024. (AFP)
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Dior and Schiaparelli Bring Historical Reverence to Haute Couture Week in Paris 

Models present creations for Christian Dior during the Women's Haute-Couture Spring/Summer 2024 Fashion Week in Paris on January 22, 2024. (AFP)
Models present creations for Christian Dior during the Women's Haute-Couture Spring/Summer 2024 Fashion Week in Paris on January 22, 2024. (AFP)

Dior’s couture show at Paris’ Musee Rodin wove an intricate Ottoman tapestry for spring and attracted a tapestry of stars to rival it Monday. Natalie Portman, Elizabeth Debicki, Ali Wong, Felicity Jones, Glenn Close, Kristin Scott Thomas, Juliette Binoche, and Carla Bruni were among the VIP guests on hand to admire Maria Grazia Chiuri’s latest fusion of art and fashion.

An installation by artist Isabella Ducrot adorned the runway walls. The set called “Big Aura” featured myriad oversized dresses, each towering up to 5 meters (16.4 feet) high, that were reminiscent of Ottoman sultans’ attire and hinted at the masterful show theme — the deft uniqueness of couture.

Here are some highlights of spring 2024 couture displays in Paris:

DIOR’S UNIQUE APPROACH TO COUTURE

It began with an understated yet powerful beige trench, worn with the large collar draping over a bare torso and complemented by a raw pearl double choker reminiscent of teeth that added a subtle bite.

Chiuri’s interplays of architectural silhouettes and innovative materials were out in force for a diverse collection that had a lot to say, seamlessly intertwining historical richness with the contemporary.

A draped skirt embroidered with metallic Ottoman-style threads exemplified Dior’s own haute couture legacy. Yet, the show’s scope extended beyond Ottoman influences. It was very much a Dior show.

Above all, it served as a homage to the unsung heroes of haute couture: Dior’s legendary seamstresses. Their artistry was vividly showcased in pieces like a crocheted field flower twine top, a teeming tapestry of intricate blooms that had guests reached for their cameras. It was the piece de resistance.

Further delving into Dior’s rich history, the La Cigale dress, an iconic piece from Christian Dior’s autumn-winter 1952 collection, was revisited. It was reimagined for the modern era, standing out with its sculptural construction and luxurious moiré fabric.

The ambition of the collection was its only weakness, sometimes leading it to skirt the edges of thematic coherence. Detailed embroideries, although masterfully crafted, occasionally strayed into whimsicality. One example was an elegant, long black crepe wrap dress, which, while stylish, seemed incongruous in the display as a whole.

Perhaps this was the point. Ducrot’s installation underscored the theme of unique haute couture auras, garments that transcend fashion to reflect the wearer’s individuality. This pursuit of uniqueness, while commendable, led to a collection that, in its rich variety, occasionally missed a focus. Nonetheless, it remained a powerful expression of couture’s transformative allure.

SCHIAPARELLI’S SURREAL FUSION OF HISTORY

Schiaparelli, piloted by the inventive Daniel Roseberry, inaugurated Haute Couture Week with a celebration of glamour, surrealism, and historical reverence. The collection was a vivid tableau of the house’s 1930s glory days under the late, great Elsa Schiaparelli, fused with a provocative twist that electrified the VIP audience.

Opening with a dominatrix-inspired black PVC-style gown, complete with an Elizabethan choker, the show was a study in historic contrasts. This reinterpretation of the choker, blending the grandeur of yesteryear with a nod to modern aesthetics, showcased Roseberry’s ingenious ability to weave art and high fashion with tongue-in-cheek.

A standout piece, a 17th-century black cape with rope adornments, mirrored the spikes while being set against a bejeweled neck clasp. Beyond its tantalizing exterior, the ensemble underscored Schiaparelli’s commitment to craftsmanship.

Roseberry’s tribute to the house’s founder was masterfully displayed in a pearl suit jacket ensemble with tubular, sculptural arms that redefined the human form. This piece, and others, exemplified his surreal take on classics, a hallmark of Elsa Schiaparelli’s original vision.

The show’s zenith was a dramatic black sheer lace screen top, sprawling out with intricate vein-like details, reminiscent of an insect’s wings — an embodiment of the house’s surrealist roots.

It was a stunning blend of Schiaparelli’s glamorous frivolity and exaggerated silhouettes, reimagined for a contemporary age.

Schiaparelli’s Spring 2024 collection transcended mere couture; after seasons in the creative wilderness, the brand under Roseberry now consistently challenges us with its glamorous frivolity and innovation.

THE DISAPPEARING RUNWAY: A CALL FOR REVAMPED SEATING

In the fast-paced world of modern fashion, some runway shows, including those by Dior and others, may benefit from rethinking audience seating arrangements.

At Dior’s couture show, all four benches of guests were placed at the same height, a stark contrast to the Dior menswear shows where back rows were tiered higher. This setup led to complaints from some attendees, who found themselves able to see only the top half of the couture designs, hindering a complete appreciation of the collection.

The seating issue has sparked discussions among fashion enthusiasts and critics alike, with many feeling that the arrangement feels elitist, privileging front-row viewers while limiting the experience for others.

One back-row guest humorously remarked, “I might have just to review the collection’s top half.”



Istituto Marangoni, Fashion Commission Partner on Fashion Education in Saudi Arabia

The Saudi Fashion Commission logo
The Saudi Fashion Commission logo
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Istituto Marangoni, Fashion Commission Partner on Fashion Education in Saudi Arabia

The Saudi Fashion Commission logo
The Saudi Fashion Commission logo

Istituto Marangoni is set to launch its Riyadh campus in August 2025, following in-depth market analysis and assessments conducted in synergy with the Saudi Fashion Commission.

The new Higher Training Institute will offer specialized programs designed to align with the needs of the Saudi fashion and luxury market and contribute to the Kingdom’s economic diversification goals.
The new campus of Istituto Marangoni will be based at King Abdullah Financial District (KAFD), at the Riyadh Creative District (RCD), the new initiative managed and overseen by the Royal Commission for Riyadh City (RCRC).

As the incubator for RCD, RCRC successfully attracted a series of prestigious companies and institutions from the creative industry as tenants for the district.

Instituto Marangoni chose Riyadh as the location of its new campus in the Kingdom because of its dynamic creative ecosystem, growing demand for high-level fashion education, and the city’s strategic role in shaping the future of the industry in the region.

Combining a rich cultural and historic heritage with ongoing technological development and rapid urban transformation, Riyadh is becoming the new hotspot for fashion and innovation, confirming Saudi Arabia’s growing influence on the global fashion industry.

As part of a strategic initiative to support the next generation of Saudi fashion professionals, the Ministry of Culture’s Fashion Commission is supporting Istituto Marangoni in the launch of its new three-year undergraduate Advanced Training Diploma. Istituto Marangoni will therefore provide 50 scholarships for Saudi students enrolling in the program. This opportunity is open to Saudi nationals holding a high school certificate or an equivalent qualification.

On March 17, the scholarship initiative was officially launched on the Istituto Marangoni website through a competitive selection process, giving aspiring Saudi fashion students the chance to receive partial funding for their three-year diploma programs, which will commence in late August 2025.

Istituto Marangoni group managing director Stefania Valenti expressed her gratitude. "A sincere thank you to the Fashion Commission, the Ministry of Culture, the Royal Commission for Riyadh City, and to Ministry of Investment for their invaluable support in establishing this Higher Training Institute,” she said.

“Our mission is to nurture local creative talent by combining global expertise with Saudi heritage, shaping the future leaders of the fashion and luxury industries in Saudi Arabia. This initiative will lay the foundation for developing a new generation of Saudi talents and managers, equipping them with the skills to connect with international markets while embracing the vision of the Fashion Commission and Saudi Vision 2030,” Valenti said.

According to Fashion Commission Chief Executive Burak Cakmak, the partnership “marks a pivotal moment for the Saudi fashion industry.”

“By investing in our local talent and providing them with world-class education, we are not only empowering the next generation of Saudi designers and leaders but also enriching the global fashion landscape with our unique cultural heritage. Together, we are building a sustainable and thriving fashion ecosystem that reflects the ambition of Saudi Vision 2030,” he said.

Strategically located in Riyadh, the institute will offer a diverse range of specialized programs that integrate Saudi heritage with advanced technical and managerial expertise. The three-year undergraduate courses will prepare students for careers in the fashion industry, with programs including "Fashion Design & Accessories,Fashion Communication & Image,Fashion Management,Digital Communication & Media,Fashion Product," and "Fragrances & Cosmetics Management."

The courses will be accredited by the Technical and Vocational Training Corporation (TVTC), the government agency overseeing technical and vocational education in Saudi Arabia.

In addition to undergraduate programs, the institute will provide upskilling and reskilling courses for industry professionals in both full-time and part-time formats. All programs will be delivered by a distinguished faculty composed of both international and local experts, ensuring a high-quality educational experience that meets global industry standards.

To mark this significant partnership, a special Suhoor was held at the prestigious La Petite Maison in Riyadh, bringing together key stakeholders from the Fashion Commission, Istituto Marangoni, and the Saudi creative community.