What to expect from Paris Haute Couture Week
The clothes on show at Haute Couture are hand-sewn, hand-embellished and expertly crafted by a fleet of artisanal seamstresses, tailors, pattern cutters and other garment workers in ateliers. What they produce, which often clocks up hundreds of hours of labor, will be sold to the world's most affluent customers — celebrities, royalty or wealthy aristocrats and individuals.
This season, the compact schedule is bursting with moments to watch out for. Schiaparelli, the hallowed couture house helmed by US designer Daniel Roseberry, will kickstart the week with a new collection that will likely become ubiquitous on the celebrity red carpet circuit (Lauren Bezos Sanchez chose to wear one of his designs for her controversial nuptials in Venice last month).
Giorgio Armani, Iris Van Herpen, Elie Saab and Chanel — the latter whose collection will still be designed in-house, as new designer Matthieu Blazy is set to take the reigns in October — remain on the schedule as reliable tent poles of Haute Couture Week, while Robert Wun (the first Hong Kong-born designer to join the calendar back in 2023) will return once more.
On Wednesday afternoon, Demna (who only goes by his first name) will present his swansong for Balenciaga, a label he has helmed for a decade (his retrospective in Paris at Kering headquarters included an enlarged copy of the rejection email Demna received from the brand after applying for an internship in 2007).
Later that day, Belgian designer Glenn Martens — the wunderkind credited for revitalizing Italian label Diesel and the now-defunct Y-Project — will make his debut for Maison Margiela. Martens will have big shoes to fill, since the house's last couture show in January 2024, creatively led by John Galliano, was considered a landslide success by critics and fans the world over. So popular was the doll-like glass skin makeup used in the show, its creator Pat McGrath released a product line so fans could recreate it at home.
Off-schedule, designer Jonathan Anderson is set to present another collection for his eponymous brand JW Anderson. Fresh off the heels of Anderson's Dior debut during the men's shows last week, the Irish polymath plans to reveal the new direction for his label at the Galerie Joseph in the Marais on Monday via a presentation. While he focuses on Dior — he is reportedly the first designer since the label's founder to design both men's and womenswear, after all — Anderson told WWD he would par back runway shows for JW Anderson until 'I feel like there is something to say within my own brand.'
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Welcome to Glenn Martens's Maison Margiela — ‘It's Going to Be Quite Loud'
Beyond attitude, figuring out the scope and function of the codes that will shape his clothes for Maison Margiela has been a creatively complex equation for Martens to formulate. The first and most fundamental part of it relates to the work of Martin Margiela himself. Because as Martens puts it: 'The reason behind the success of houses is their founding values and their codes, so that is what you need to respect as a new creative director. What's really beautiful is to then possess them and bring them into the world in a new way.' Part of the specific challenge with Maison Margiela, he continues, is just how influential the founder's thinking became across all fashion. 'I myself am one of those children of the Margiela generation. And I think Martin is more than a designer, he is a school that has changed a lot of people's thinking… The Japanese were a bit before, but I think in Europe it was Martin who made this change, this thought that garments don't have to follow a classic structure. It was trying to find a different way of looking at beauty, of looking at construction and looking at fashion at large. And this has been a design ethos for so many designers since, some of them more directly and some of them less so. I have always been someone, I think quite clearly, who has always followed that way of thinking.' Which leads to questions of originality, ownership, and identity. Martens laughs again as he recounts the sometimes creatively confronting nature of his deep dive into the Margielian world. 'When I arrived here I asked my stylist to bring out all of Martin's archive pieces. Because I had always only ever seen them in books. And finally seeing the real items, I was so disappointed in myself. I was like: 'My God, I just copied everything before when I was at Y/Project!'' 'I love this house for its founding DNA, but definitely a lot of that DNA has been fully plundered; literally plundered, this is the best word for it. Reclaiming some of these elements, trying to reclaim them with elegance, and finding my own way to work through them is what I want to do.' If Martens's own 13-year output at that Parisian indie label was unconsciously saturated by Margiela's influence, there are some who have taken a far more premeditated approach to incorporating his new house's creative canon. He says: 'Margiela has been a source to so many designers and brands, some more literally than others. I love this house for its founding DNA, but definitely a lot of that DNA has been fully plundered: literally plundered, this is the best word for it… Reclaiming some of these elements, and trying to reclaim them with elegance, and finding my own way to work through them is what I want to do.' Another factor for Martens to calculate is the enormous contribution to the house from John Galliano, who served as the creative director from October 2014 to December 11, 2024. Martens says: 'I love everything he has done here… John is a genius in couture. He created his own fantastic world, and the product was very much linked to it. I could never be John: only one reason for that is because I am not such a good storyteller.' Galliano arrived at Margiela three years after the end of his 13-year stint at Christian Dior, where he had created some of the most opulent and narratively expressive couture shows fashion has ever seen. His unique articulation of that apex house of mainstream French luxury was duly refracted through his work at Maison Margiela. This, Martens implies, offers him a distinct route forward as he plots his path ahead. He says: 'I think in the days of Martin this world was much more niche. The luxury was more about the exclusivity of it through an independent way of thinking. Now it is also about the craftsmanship and the tailoring: John brought that in and we need to continue building it, because it is part of the development of this house.'
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