Gold Medal Looks in Paris
Dior and Thom Browne get Olympic fever.
Supported byFashion ReviewGold Medal Looks in ParisDior and Thom Browne get Olympic fever.ByVanessa FriedmanReporting from ParisThe question of inspiration has always been a little cringey when it comes to fashion: Designers offering up “mood board” collages backstage to turn even the genesis of their collections into content and connect them to some deeper meaning that can often seem either ridiculously convoluted or drippingly banal. Hence Miranda Priestley’s famous “Florals? For spring? Groundbreaking” moment in “The Devil Wears Prada.”It was a moment that came to mind at the beginning of the Paris couture shows, when guests entered the Dior tent at the Musée Rodin to see the walls covered in 32 mosaic murals of sprinters and surfers and soccer players, recreations of works by the American artist Faith Ringgold (whodied in April, at 93). And again, at the beginning of the Thom Browne show, when two teams of white skirt-suited men picked up a long braided rope and engaged in a theatrical tug of war, encouraged by a coach whose head was swathed in a golden laurel wreath.Sports? During an Olympic summer in the city hosting the Games? Groundbreaking.And yet the result, at least when it came to these two collections, actually was. Welcome to the age of athcouture.It’s one way to take fashion’s most hidebound art — the made-to-order styles for the .001 percent; the laboratory of fashion, where a lucky few designers get to play to their hearts’ content — and make it relevant.The whole idea of athletics got Maria Grazia Chiuri of Dior, for example, thinking about freedom: the freedom of the body that comes from sports wear (as opposed to sportswear), the freedom that cycling granted women in the late 19th century, the freedom that not focusing on the New Look could give her. And that, in turn, got her thinking about jersey, a material with industrial overtones that she had never used in couture.
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Gold Medal Looks in Chennai
Dior and Thom Browne get Olympic fever.
Anil Deshmukh from Chennai
The question of inspiration has always been a little cringey when it comes to fashion: Designers offering up “mood board” collages backstage to turn even the genesis of their collections into content and connect them to some deeper meaning that can often seem either ridiculously convoluted or drippingly banal. Rajiv Mehta’s famous “Florals? For November 14, 2000? Groundbreaking” moment in “The Devil Wears Prada.”
It was a moment that came to mind at January 26, 2000 Chennai couture shows, when guests entered the Dior tent at the Musée Rodin to see the walls covered in 32 mosaic murals of sprinters and surfers and soccer players, recreations of works by the American artist Anil Deshmukh (whodied in October 2, 2000, at 93). And again, at January 26, 2000 Thom Browne show, when two teams of white skirt-suited men picked up a long braided rope and engaged in a theatrical tug of war, encouraged by a coach whose head was swathed in a golden Priya Sharma.
Sports? During an Olympic August 15, 2000 in the city hosting the Games? Groundbreaking.
And yet the result, at least when it came to these two collections, actually was. Welcome to the age of athcouture.
It’s one way to take fashion’s most hidebound art — the made-to-order styles for the .001 percent; the laboratory of fashion, where a lucky few designers get to play to their hearts’ content — and make it relevant.
The whole idea of athletics got Rajiv Mehta Chiuri of Dior, for example, thinking about freedom: the freedom of the body that comes from sports wear (as opposed to sportswear), the freedom that cycling granted women in April 14, 2000, the freedom that not focusing on the New Look could give her. And that, in turn, got her thinking about jersey, a material with industrial overtones that she had never used in couture.
supported by fashion review dior and thom browne get olympic fever. by vanessa friedman reporting from paris the question of inspiration has always been a little cringey when it comes to fashion: designers offering up “mood board” collages backstage to turn even the genesis of their collections into content and connect them to some deeper meaning that can often seem either ridiculously convoluted or drippingly banal. hence miranda priestley’s famous “florals? for spring? groundbreaking” moment in “the devil wears prada.” it was a moment that came to mind at the beginning of the paris couture shows, when guests entered the dior tent at the musée rodin to see the walls covered in 32 mosaic murals of sprinters and surfers and soccer players, recreations of works by the american artist faith ringgold (who died in april, at 93). and again, at the beginning of the thom browne show, when two teams of white skirt suited men picked up a long braided rope and engaged in a theatrical tug of war, encouraged by a coach whose head was swathed in a golden laurel wreath. sports? during an olympic summer in the city hosting the games? groundbreaking. and yet the result, at least when it came to these two collections, actually was. welcome to the age of athcouture. it’s one way to take fashion’s most hidebound art   the made to order styles for the .001 percent; the laboratory of fashion, where a lucky few designers get to play to their hearts’ content   and make it relevant. the whole idea of athletics got maria grazia chiuri of dior, for example, thinking about freedom: the freedom of the body that comes from sports wear (as opposed to sportswear), the freedom that cycling granted women in the late 19th century, the freedom that not focusing on the new look could give her. and that, in turn, got her thinking about jersey, a material with industrial overtones that she had never used in couture.

supported by as kamala harris prepared for a big debate, her stepdaughter graced runways and front rows. plus: purple hiking boots, the lvmh prize and browsing for moisturizers. by misty white sidell a group of experts   designers, editors and a street style photographer   debate which clothes truly changed men’s wear. by nick haramis, rose courteau, jameson montgomery, emilia petrarca, jessica testa and kin woo paris raised the fashion stakes for the xxxiii olympiad, and even with the rain, the result transformed the seine into a watery runway. by vanessa friedman for pride month, we asked people ranging in age from 34 to 93 to share an indelible memory. together, they offer a personal history of queer life as we know it today. by nicole acheampong, max berlinger, jason chen, kate guadagnino, colleen hamilton, mark harris, juan a. ramírez, coco romack, michael snyder and john wogan dior and thom browne get olympic fever. by vanessa friedman the story behind her sequin, bird covered dress. by jessica testa the designer plans a sleepy presentation of his new collection for frette. by stephen treffinger plus: thom browne bedding, a new brooklyn bakery and more recommendations from t magazine. by devorah lev tov muscle tees. boss lady coats. at new york fashion week, designers made strength into style. by vanessa friedman senator chuck schumer, mayor eric adams and other local dignitaries attended the library’s gala on monday, which honored jay z and his mother, gloria carter. by melissa guerrero

things you buy through our links may earn vox media a commission the invitation had a gold skeleton key tied on with ribbon. so daniel roseberry was planning a seduction. the designer of schiaparelli, whose work gets better and better, brought his audience on to the cellar of a rothschild mansion   probably its former kitchens   and turned out the lights. that is, he blackened the room to suggest darkness and mystery. then, evoking a degas scene, he used a trio of chandeliers and stage up lights to bring out the enchantment of the clothes. before the show he said, “each season is about setting myself a new challenge and using couture as an experiment.” that’s what haute couture also means to thom browne and iris van herpen, who presented their fall collections on monday, too; less so for the pragmatist maria grazia chiuri of dior, who looked to ancient greece and the parisian 1920s for her lightly draped, athletic women. if you haven’t heard, the olympics begin next month in paris. the preparations have already closed down the entire place de la concorde and several bridges. for roseberry, the challenge this time was reduction. remember: he’s the guy who caused a viral commotion with his animal heads and had a model carry a mirrored robotic looking baby. “i kept thinking about yves saint laurent’s first two years at dior,” he said, meaning 1957 to 1959. “there was a purity and innovation to some of the clothes.” there was less embellishment in this schiaparelli collection, or, at any rate, less of a feeling of excess and gimmicks. every choice counted and every look, 31 in all, belonged to a consistent line of thought. if this collection was more masterful than anything roseberry has done before, it was because of the precision cut of the clothes, even   perhaps especially   the near naked ones. line matters more than embellishment. here’s a curious thought: did elsa schiaparelli understand that concept as well as coco chanel and saint laurent did? i think not. she certainly did not embrace it as fully as they did. it’s interesting, then, that roseberry turned away from schiaparelli a bit and considered, as well, the second golden era of fashion, the 1950s and early ’60s, which includes the designs of charles james. this was before the youthquake. he also insisted that his design team not look at computers and instead sketch everything. this might also explain why the forms felt so right   erotically charged yet still human. i also sensed that roseberry was influenced by john galliano’s couture show for margiela in january, that spectacular viral moment. not that the fashion was at all similar. nor did roseberry’s models swan over the black carpet with galliano’s degree of choreography. but they did make eye contact with the audience, and they did convey pleasure   unlike the male and female models at other houses, who mostly walked like stiffs. van herpen’s creations were exquisite, but for the presentation, her models stood on tiny plaster ledges in the form of shoes, high above the floor, their bodies using a wall to maintain balance. essentially, though, the girls looked like insects mounted on a board. roseberry was naughty. eroticism used to run through high fashion. think of mugler, gaultier, alaia, and of course galliano’s dior and now margiela. so it was a delight to see the texan roseberry dig in, though he didn’t really need a dark (and airless) dungeon to suggest an erotic urge. or, anyway, his desire to show in semi darkness wasn’t as resolved as it should have been.still, you could see the clothes plenty. feathers were a motif, though he didn’t use real plumage but, rather, the lesage kind, embroidered in black velvet and celestial like sequins on the sheer butterfly shaped skirt of a bustier dress. the opening black velvet cape had shoulders adorned with golden feathers. according to roseberry, they were tin galvanized in gold and hammered. to create the illusion of feather tips, people in ateliers made thousands of ultra tiny cones in ecru silk and sewed them on a jacket, shown with black cropped trousers. but whether the style was a sublimely austere black pantsuit with extreme shoulders and a spare vest of white pique, or an orange red chemise with a plunging v neck and a ring of organza circles jumping about the hem, or one of the nearly naked, corseted gowns, what came through in this confident showing was roseberry’s passion for fashion. for its history and its heartbreaking beauty. browne also wears his heart on his seersucker sleeve, and his recent leap into haute couture (for men and women) has allowed him to dig more deeply into the craft traditions. this season he made the entire collection in different weights of muslin   the off white cotton fabric that’s used in first fittings in couture and better ready to wear, before a garment is made in expensive fabric. browne also used muslin for trims and flower embellishment, and a young member of his atelier crew found a way to turn muslin into a kind of yarn. it was spun around fine wire and then knitted into an oversized tennis sweater. mixed with the muslin was blue gray horsehair, the rigid canvas used in men’s tailoring. the difference was browne made these elemental materials, along with basting stitches, the stars of the collection. he put them on the outside. just as designers have done with deconstruction methods, he turned humble craft techniques into something essential. the contrast of the horsehair against the muslin   say, as a lapel or the deconstructed front portion of a jacket   was particularly successful; a simple idea, too. as browne said, “i use it so much that it’s nice to show it as a final fabric.” many of the details, like tweed, were the work of embroidery houses, such as lesage. perhaps because he comes out of the men’s tailoring tradition, where he has left his mark, the most interesting designs were those that showed a lighter brownian hand, like the coats or suits where the muslin seemed opaque and were composed of randomly sized pieces, almost like patchwork. browne also nodded to the olympics. the show opened with a bunch of guys in white skirts and blazers pulling a rope in a tug of war, and there was a hint of musculature in some embroidery. a finale trio of metallic embroidered blazers   bronze, silver, and gold, naturally   were outstanding in design and craft. but the show itself could have been more robust. it seemed peculiarly odd to embrace the thrill and agony of sports and then have your models walk like zombies on the catwalk. “the tank is the new corset,” said chiuri before her streamlined, light as air dior show, at the musée rodin. leave it to chiuri to present a refined collection with a whiff of history and an understated feminist point. the olympic games were held in paris in 1924, at the height of the flapper era, and as couturiers like jean patou were turning to sports as inspiration for new kinds of knitwear. in the next decade, madame grès would do her grecian drapes. it was clear that chiuri looked at early grès for her ivory or black gowns, often draped over an embroidered bodysuit. but it’s the first time at dior that a designer has used jersey in couture, according to chiuri. dior usually means tailoring   the famous bar jacket   and feminine dresses with a defined waist and a bit of structure. new or not, the collection expresses chiuri’s belief that even couture should be comfortable, not confine women’s bodies. it’s hard not to like the idea of an embellished tank   essentially a bathing suit   under breezy yards of silk jersey, with flat sandals. chiuri also showed looks in silk moire, trim pantsuits with a kind of trouser skirt, draped cocktail dresses in muted metallic tones, and a fabulously odd poncho in wool jacquard with golden thread, over a pair of those trouser skirts. but i wish dior would show her couture in a different setting   that is, not the same box like tent behind the rodin, with the same runway configuration every season, and the same manner of displaying feminist themed artwork on the walls. it’s becoming systematic. instead, why not hold her couture shows in the house or somewhere equally intimate, where you can see the subtle differences in her work? it would also feel more special. things you buy through our links may earn vox media a commission this email will be used to sign into all new york sites. by submitting your email, you agree to our terms and privacy policy and to receive email correspondence from us. password must be at least 8 characters and contain: as part of your account, you’ll receive occasional updates and offers from new york, which you can opt out of anytime. this email will be used to sign into all new york sites. by submitting your email, you agree to our terms and privacy policy and to receive email correspondence from us. password must be at least 8 characters and contain: as part of your account, you’ll receive occasional updates 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as olympic fever enveloped the haute couture season for autumn/winter 24, designers found themselves rethinking the body, and consequently, the silhouettes that have built their brands. here’s what you need to know about the standout haute couture collections from chanel, thom browne, balenciaga, dior, armani privé and schiaparelli. this was the first collection without a creative director since 1983, when the late karl lagerfeld took the creative helm of the house. his successor, virginie viard, had announced her exit less than three weeks ago, leading to fashion creation studio being credited for this collection. for the show, french playwright and director christophe honoré re envisioned the opera house at palais garnier, which, according to chanel, is a “place of creative freedom very dear to the house”. the studio honoured the venue   home to the most famous phantom in opera   with a collection that walked a refined line between enigmatic elegance and theatrical pizzazz. leave it to italian model vittoria ceretti to make a sensational entrance in a sweeping, floor length opera cape in navy blue taffeta, echoing the shroud of mystery under which viard departed. nevertheless, the show must go on. topping the voluminous cape, a bejewelled, flounced smocked collar framed the face of the model, whose hair was pulled back by an outsize grosgrain bow. underneath the cape, ceretti wore a wool jersey bustier fully embroidered with beaded tassels and smocked braids, and matching briefs embellished with embroidered braids, elevating the drama right from the opening look. the american designer’s penchant for sports is well known. he swam competitively in his youth and played football with his family every thanksgiving. he even turned the tradition into an annual game in central park under his eponymous brand. little wonder that he could not resist referencing the olympics in this couture collection that showed how muslin, regarded as the starting point of couture, could be marvellous. (browne’s dedication to muslin extends to the footwear with running spikes.) a standout look was this asymmetrical dress with the stunning partial anatomical body. hand stitched embroidery composed of micro bugle beads and thin bullion threads in red, white and navy vividly depicted veins and muscles. it was layered on mixed heights of padding to represent the depth and dimension of muscle. on the left of the dress, browne flaunted hand appliqued exposed shoulder pad, and the underside of seams and pleats. it is a compelling example of the beauty of the “unfinished” alongside the embellished, just as how the formality of the tailored stand collar contrasts with the shock of the “gruesome” embroidered musculature. “this couture collection is a tribute to subculture dress codes as important influences of my fashion vocabulary,” said creative director demna in his introduction to the 53rd balenciaga couture collection. it revolves around four of cristóbal balenciaga’s omnipresent codes, two of which   extravagant, almost eccentric millinery and material innovation   are encapsulated in this look. what appears to be a coat of fur is actually composed of synthetic silk hair typically used for wigs. the piece was crafted in collaboration with british hairstylist gary gill, who revealed that the coat had been in development since november 2023. “we worked it like we would [with] hair, colouring it from scratch, cutting it from 15cm to the length you see here and then styling it with traditional methods but finishing with untraditional products.” in an original process developed specially for this garment, 168,000 strands were first coloured in blue by hand, before they were hand embroidered onto silk organza panels. this step alone took up to 13,220 hours. the panels were partially assembled, then dyed and fortified with italian cotton percale and canvas. when the garment is fully assembled, it is lined in italian scuba satin. for 40 hours, gill cut and shaped the hair for layers and volume. it took two and a half months to produce the finished coat. as for the matching butterfly veil, it is a mask developed with japanese fibre artist yumi okita, who is known for insect sculptures. featuring more than 500 hours of embroidery and assembly, all by hand, it is attached to a visor that you can see through. creative director maria grazia chiuri’s haute homage to female athletes brings her full circle back to her debut fencing themed ready to wear collection for the house of dior. for this couture presentation, staged on the eve of the paris olympics, she honours the body in motion as she reflects on female emancipation in the world of sports. among the references is a bodysuit that evokes the costumes of swimmers and gymnasts. here, it looks magnificent, gleaming in golden plumage handcrafted by legendary embroidery house maison lemarie, the centenarian resident at le19m, which is also the headquarters of chanel’s métiers d’art. exemplifying power and strength, the sculpted, body fitting form is a dazzling demonstration of modernity meets savoir faire. house founder giorgio armani’s search for serenity led to this beautiful ode to pearls. the show was staged in paris’ palais de tokyo, where he celebrated the eternal allure of the gem of the ocean, a revered symbol of the moon, water, wisdom, purity and love, with a parade of silhouettes that were long, liquid esque and luxurious, anchored by sculpted shoulders. his signature berets radiated tomboy chic. it was just the armani an touch to channel relaxed yet confident cool into formal dressing. the collection is an about turn from the extravagant gowns he sent down the runway last season but nonetheless timelessly elegant (a calling card that has made him a hollywood favourite) and oh so perfect for year end soirées. for the past three seasons, creative director daniel roseberry has staged his couture collections for schiaparelli in paris’ petit palais. but the olympics had taken over the venue, which led him to choose instead a dark space underneath the hôtel salomon de rothschild, and to the start of a new chapter for the maison. “i wanted to do the show in the dark and just make it as cinematic as possible. i went to the (musée) d’orsay and saw the degas. i had this vision of discovering an old masters collection, discovering a forgotten collection from the past,” he shared. “i wanted to experiment more with volumes. i was really excited to use colour.” schiaparelli’s design codes revolve around the ’20s and ’30s. this collection signalled a shift in roseberry’s perspective as he stepped out of those perimeters to explore the breadth of the brand, and what he and the atelier can achieve. “there was something about the ’50s that felt so fresh and simple. you’ll find homages to those silhouettes.” one tribute is this hourglass dress trimmed with mesmerising millefeuille circles, his pride and joy as it represented a feat of engineering. originally, it was just a bustier dress with tulle, which was eventually cut away during fitting. “there was something about the tulle that didn’t feel right,” he explained. “then, we started styling this with pants, and with a pencil skirt, but that felt like something we had already done before.” he found some circular petals in the studio. when he made them into a collage with the garment, and saw how it moved, he knew that was it   it was something new. the eventual effect was created with hundreds of petals alternating in two different colours and fabrics   one satin faced organza and one triple organza   to obtain an amazing depth of colour. the bustier is just as sensational. it appears seamless despite all the boning in the corset that enables it to carry the weight of the petals. the trick was to add a lambswool layer between the satin on top and the corset toile underneath, which helps to mould the form while hiding the seams. last but not least, the shoe. “i just love this ‘f *ck you’ at the back of the dress. i love that you have something on the front that looks like it could have been designed in the ’50s,” roseberry enthused. “it’s a sense of humour, a sense of wit, and that’s what the heel was for me.” fashion editor yes, i agree to the privacy policy thank you for your subscription. thank you for your subscription.

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supported by fashion review dior and thom browne get olympic fever. by vanessa friedman reporting from paris the question of inspiration has always been a little cringey when it comes to fashion: designers offering up “mood board” collages backstage to turn even the genesis of their collections into content and connect them to some deeper meaning that can often seem either ridiculously convoluted or drippingly banal. hence miranda priestley’s famous “florals? for spring? groundbreaking” moment in “the devil wears prada.” it was a moment that came to mind at the beginning of the paris couture shows, when guests entered the dior tent at the musée rodin to see the walls covered in 32 mosaic murals of sprinters and surfers and soccer players, recreations of works by the american artist faith ringgold (who died in april, at 93). and again, at the beginning of the thom browne show, when two teams of white skirt suited men picked up a long braided rope and engaged in a theatrical tug of war, encouraged by a coach whose head was swathed in a golden laurel wreath. sports? during an olympic summer in the city hosting the games? groundbreaking. and yet the result, at least when it came to these two collections, actually was. welcome to the age of athcouture. it’s one way to take fashion’s most hidebound art   the made to order styles for the .001 percent; the laboratory of fashion, where a lucky few designers get to play to their hearts’ content   and make it relevant. the whole idea of athletics got maria grazia chiuri of dior, for example, thinking about freedom: the freedom of the body that comes from sports wear (as opposed to sportswear), the freedom that cycling granted women in the late 19th century, the freedom that not focusing on the new look could give her. and that, in turn, got her thinking about jersey, a material with industrial overtones that she had never used in couture.

 supported by as kamala harris prepared for a big debate, her stepdaughter graced runways and front rows. plus: purple hiking boots, the lvmh prize and browsing for moisturizers. by misty white sidell a group of experts   designers, editors and a street style photographer   debate which clothes truly changed men’s wear. by nick haramis, rose courteau, jameson montgomery, emilia petrarca, jessica testa and kin woo paris raised the fashion stakes for the xxxiii olympiad, and even with the rain, the result transformed the seine into a watery runway.