Virginie Viard looked back to Coco Chanel’s childhood in a convent at Aubazine for her show, which was set in the kitchen garden of a cloister. The black‑and‑white uniform that dominated Chanel’s youth was transformed into clothes with a pleasing austerity—something of a signature for the designer. This was a beautiful collection, at once respectful and resolutely modern.
A collaboration with artist Judy Chicago, Maria Grazia Chiuri’s Dior collection was influenced by the idea of woman as goddess —gilded and draped in dresses whose apparent simplicity belied their extraordinary craft. The exceptional finale gown, with sequins and a tulle cape, featured a moon on its bodice —the ancient symbol of female fecundity.
Pierpaolo Piccioli has literally changed the shape of fashion with his glorious experiments in volume. Now, he’s ready for something new. Though still drenched in colour, this Valentino collection was more structured, fish-tailed and form-fitting. It lost none of the beauty though—whatever else changes, that’s always the mission here.
Clare Waight Keller’s last couture collection took inspiration from the gardens at Sissinghurst for her extravagant Givenchy collection, where gowns unfurled like gauzy petals. There were cool, sculptural moments, but the most memorable looks were where her imagination ran riot: Kaia Gerber’s floral lace wedding dress came with a matching hat that formed its train.
PHOTOGRAPHY: SONNY VANDEVELDE; SHOWBIT; COURTESY OF THE BRANDS; GETTY IMAGES