In an era where "more is more" defines fashion show production, this year’s Paris Couture Week was a refreshing change to say the least. In the oversaturated fashion industry, brands have become trapped in a cycle of constantly trying to outdo themselves—and each other—with every show. And frankly, it’s exhausting. There’s only so much drama, spectacle, and shock value I can take per season. The relentless pursuit of virality has become transparent and predictable, even cliché.
Feeling this general disinterest in overly theatrical shows, Paris Couture Week felt like a necessary breath of fresh air. These shows were stripped down, intentional, and refocused on what truly matters—beautiful clothing. While the success of each designer’s collection is a discussion of its own, something special is happening here: couture houses seem to be refocusing on their purpose, bringing the craftsmanship and artistry of the garments back to center stage. And, importantly, the product (if you can even really call couture “product”) is working harmoniously with the place, the show setting.
Daniel Roseberry’s collection for Schiaparelli was staged in the beautiful Petit Palais ballroom, adorned in classic Parisian molding. Roseberry focused his designs on the idea of modernity, exploring the interplay between old and new. The collection was spectacular and extravagant—clearly couture. But the show? Simple. There were no theatrics, it was all about the clothing. And the setting worked perfectly. How better to explore the cycle of old becoming new again than by placing your new designs in an early 20th century building. Pure thematic harmony. And of course, the aesthetics complimented each other perfectly. The clothing did not have to compete with the setting. Love.
Christian Dior Couture by Maria Grazia Chiuri
Dior, on the other hand, utilized place as a pop of color in the background of what was a very neutral toned collection. Using fairytales as her inspiration, Maria Grazia Chiuri presented a Dior couture collection that was playfully stunning. I’m pleasantly pleased by this drama-free production, considering a fairytale theme is a one-way ticket to an over-the-top, McQueen-esque show. Instead, the colorful artwork by Rithika Merchant created the perfect atmosphere of fantasy. The collection looks almost immersed in the art, which is amazing on so many levels but worked to reinforce a theme of dream and fairytale.
I could keep detailing the overwhelming success of this couture week’s shows, but I think you get the point. These shows were about the clothing, yet simultaneously used venues to subtly support their collections. There was no extra fuss. I appreciated that. The question, however, is will these refocused show productions continue during the Fall/Winter 26 season? Or maybe these stripped-down productions have something to do with the very fact that it is couture week…