Couture week continues to wow us through craftsmanship, innovation, and trompe l’oeil illusions. With Day 2 marked by anticipated debuts, fashion was scaled back, stretched, and pulled to find new forms that served as narratives. Within it, we saw Chanel take flight, Gaurav Gupta ponder, Stéphane Rolland dance, and Giorgio Armani Privé live, all SS26 Paris Haute Couture Collections that have stuck with us.
Chanel
Matthieu Blazy’s debut so far has been met with high praise, so his haute couture chapter comes saddled with plenty of expectations. In spite of this, Blazy carves his own way ahead, scaling back while rewriting the house codes. Asking the question “what makes Chanel, Chanel?”, we start to see the question being answered by both house codes and by those who wear the house. Tweed and camellia flowers are hardly present, but what stands out are tender love notes, 1920s silhouettes, and Coco’s signature black, as well as her belt. In this collection, Blazy pays heed not to his predecessors but to his founder, the one who famously said, “Before you leave the house, look in the mirror and take one thing off.” Blazy followed that advice till all we got were clothes in flou techniques, wispy and light, akin to the woman Coco Chanel aimed to achieve—light, fluid, and free.
In between referencing Coco Chanel came Blazy’s own vision for what fluidity and freedom looked like, taking flight like birds. Tweeds exploded with feathers till the knees, and raw threads came together to envision peacock feathers. Beyond that, there were psychedelic embroideries to match the mushroom and weeping willow set, a tank top and jeans in organza, and jewellery exclusively made of beads and crystals appearing like diamonds. Fresh from her viral runway, Bhavitha Mandava closes the show as Blazy’s first Chanel bride, in a sequinned skirt suit that looked sharp like scales. With her exit via pirouette, Matthieu Blazy honours Coco Chanel’s philosophy of the free woman by bringing her silhouettes to the 21st century.
Gaurav Gupta
Drawing from ancient spiritual philosophy, the Divine Androgyne, Gaurav Gupta’s collection manifests metaphors into clothes. The Divine Androgyne is a belief that the creation of the universe comes from dualities—the masculine and feminine. We start with light, encased in a black architectural gown, sculptural shapes that Gupta is known for. Glowing like an energetic life force, the “Big Bang” piece is as provocative as it is technically impressive. What follows are stark black gowns mimicking stardust before entering into pristine whites, silvers, nudes, golds, and reds.
Indian references were steeped deep into this collection. Saree-like drapes, corsets in Indian brocade, temple jewellery, jasmine petaled appliques, and a bodice resembling ancient temple sculptures all made appearances. The standout look of the collection was a twin look, crafted through ribbons weaving together. Promptly going viral on social media, the twin silhouette in red feminine energy and nude masculine energy was emblematic of the karmic partnership that Gupta explored within this collection.
Stéphane Rolland
Presenting his collection at the Paris’ Cirque d’Hiver Bouglione, a circus venue, Stéphane Rolland‘s theme was simple—theatrics, drama, and of course the circus. With Pablo Picasso pinned to the moodboard, we saw silhouettes defined by geometry and architectural forms similar to Picasso’s cuboid shapes. The clown theme was also prevalent as shapes were exaggerated with plenty of balloon pants and jumpsuits. Organza, chiffon, satin, and gazar came in a palette of neutrals, punched with burnt reds, burgundy, and bronze. While the collection was grand, it wasn’t loud, and while exaggerated, it wasn’t satirical. Rolland took an idea and scaled it back, providing theatre without going overboard.
Giorgio Armani Privé
Unlike most debuts, Silvana Armani’s is a humbling one. With 40 years beside her uncle, she takes the reins after his passing last year. Basing her collection on Jade, her presentation came with the late Armani’s influences but with Silvana’s preferences. Leaning into masculine tailoring and sensualising the suit—two hallmarks of the house—Armani begins by making couture wearable. Honouring the maison’s reputation for power dressing, daywear, and glamorous red carpet looks, we got a middle ground with breezy palazzo pants and cocktail suit jackets that have been stripped from its stiffness. The stone’s association with China appeared in embroidery motifs of Chinese lanterns and bamboo fans, while the delicate hue dominated the collection’s palette. The gowns were more sculptural in form, at least when compared to the shiny suits, but they too performed with ease, adding to Armani’s desire for wearability. While simple on the surface, couture is all about execution and Silvana Armani flawlessly executed her narrative. Uncomplicated cuts made perfect by intricate embroidery and couture tailoring, Armani receives the baton pass without any fuss.
