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Every day, ELLE debriefs the behind the scenes and the buzz of fashion week in Paris.
Very discreet about her private life, Sarah Burton , the new artistic director of Givenchy , insisted on having her three children present at her first fashion show for the French house. When she came to say goodbye at the end of her show, they applauded their mother. It was a big day for the British woman who was presenting her first collection as part of her new role. It pays tribute to the legacy of Hubert de Givenchy, reinterpreted with a modern and powerful femininity. The silhouettes are a wealth of nods to the world of the founder of the house (basins, little black dresses, workshops, etc.). Sarah Burton revisits the classics by designing the silhouette: the waist of the suits is subtly sharpened, the sleeves rounded, the shoulders cut and the back, a word in itself. A wardrobe that enhances feminine curves and sets the tone for the Sarah Burton signature for Givenchy.
It is at the Carrousel du Louvre that Issey Miyake has arranged a meeting. We are greeted by sculptures of all shapes and sizes, on which are hung a dozen or so colorful sweaters. Dancers take over the space, first to perform a few steps and jetés. Once the guests are seated, they grab a model before putting it on in unusual ways. One jumps with both feet together into a sleeve, slides it down his body and takes his hands out through the second sleeve. Another slides his legs into the sleeves, the collar on his head, and lies down. Once removed, they are as good as new. Funny postures inviting laughter, and gracefully illustrating the extensibility of the Japanese brand’s knits.
Inspired by a 1979 sketch by Kenzo Takada, two pink and blue stuffed rabbits bring a regressive dimension to the fall-winter 2025-2026 collection. Grafted onto a t-shirt, a hooded jacket or a handmade vest, they are especially striking on slippers that are definitely kitsch. Freeing slippers from our interiors, Nigo, artistic director, combines them with everyday silhouettes for a return to childhood that feels good.
It’s been ten years since Viktor & Rolf unveiled a ready-to-wear collection. At the time, Dutch designers Viktor Horsting and Rolf Snoeren abandoned their women’s ready-to-wear line launched in 2000 in a desire to position themselves at the very high end. Ten years after establishing itself on the Haute Couture calendar, the Amsterdam brand is reversing its decision. With this collection, it responds to a desire to reinterpret its Haute Couture line in more accessible materials, in order to appeal to a wider clientele. For fall-winter 2025-2026, exaggerated volumes, tulle ruffles, and layering effects create sculptural dresses and skirts that recall their work from last season.
Last show of the day: Victoria Beckham. On the catwalk, the designer’s beloved tailoring was displayed in abundance, and timeless elegance was highlighted through a formal and pragmatic wardrobe. In the front row, the Beckham family, as usual, came to support her, except for her son Brooklyn, who remained in the United States. Their arrival created hysteria, a crowd of guests pressing around them in the hope of catching a glimpse of what some call “the second English royal family”. David, in a suit, advanced into the crowd, holding his daughter Harper by the hand. He suddenly stopped to kiss a brunette woman. From the back, we didn’t immediately recognize her. A celebrity? A family friend? It was Rachida Dati, Minister of Culture. A scene from life, as only Fashion Week can give us.
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