Couture week in Paris is a reminder that the clothes many people consider to be the most splendid in the world are accessible to only a select few with means and connections. That doesn’t mean the shows are not fun to see.
The latest installment, in late June, was full of thrills, thanks partly to exceptional presentations by the designers Robert Wun; Nicolas Di Felice, who developed the newest Jean Paul Gaultier couture collection; and Daniel Roseberry of Schiaparelli, whose collection for that house showed off his eye for timeless silhouettes and resplendent details. Another standout was Thom Browne, who used lighter fabrics to create intricate pieces that seemed practical and breathable — two words not often used to describe couture.
Outside the shows, the style in the crowds was a mix of formal attire and street wear. Sartorially, it has become harder to tell the difference between fashion superfans (students, bloggers) and industry fixtures (editors, A-listers). The former group, largely because of technology, has greater access to the type of holy-grail clothes that were once primarily the domain of the latter. That might seem at odds with the premise of exclusive events like couture week. But in my opinion, the more people who look fabulous, the better.
