As the opening show of the week, Schiaparelli, under the control of Daniel Roseberry, has aroused the attention of both inside and outside the industry.

Before the big show opened, the lineup composed of stars such as Zendaya, Hunter Schafer and Jennifer Lopez was enough to illustrate the brand's increasingly strong creative appeal.

When the model holds a robot baby made of various mechanical components and circuit boards, it is no exaggeration to say that all the topics outside the creativity become a foil to the work itself.

"I'm just digging deeper into the most tender, childlike parts of myself," Roseberry said after the show, explaining the original intention of introducing mechanical elements into her work, "because what distinguishes humans is our memory." I think it's like in a music album where you mix all the different references together."

As a leader among the post-85 designers, Roseberry's youthful memory is that digital devices began to gradually affect people's lives, and science fiction elements represented by the movie "Alien" began to dominate human imagination of the future, and it is the fragments of these memories that constitute this high-end series that releases the magic of the new wave.

Roseberry believes that this creative process and result are no different from the collection and creation of creative materials by current artificial intelligence. Even if artificial intelligence can combine the so-called "new things", the root of everything needs to be based on the accumulated elements and data in the past, and continue to explore along this line of thought.

We will find that Elsa Schiaparelli's 1938 skeleton dress has also been upgraded to a wearable 3D spine this season, and the superposition and repetition of a large number of fashion parts also highlights the complexity of the production process, continuing to adhere to the unshakable tradition of haute couture.

When Jean Paul Gaultier officially announced Simone Rocha as the guest designer for the brand's new season couture collection, perhaps everyone was looking forward to the creative encounter between "old brats" and "good girls". "The narrative takes the technical ideas of haute couture and emphasizes the spirit of Gaultier -- bringing them to the show by masquerading as my perspective." "Gaultier had a playful provocation that I wanted to bring to my design in a very individualistic way," Rocha says.

Combing through Jean Paul Gaultier's archive from the '90s to the early 2000s, Ms. Rocha found classic designs that she could use for herself, like the opening see-through dress with hand-painted elements and peels, modeled on a courtly coat in a similar fabric from the brand's spring-summer 1994 ready-to-wear collection. The striped elements that Gaultier loved were also cleverly transformed into three-dimensional ribbons by Rocha, and she was also surprised to find that many Irish crochet techniques were used in the brand's knitting designs in the past, which was also re-interpreted by Rocha to create a quaint knitted dress.

In a series of re-creations that seem to be loyal to the original work, we can also find Rocha's slightly "rebellious" side in this cooperation, such as the rose thorn upturned lines in the corset design and the overall silver-plated lace dress, which meets many people's expectations for the dress version of Simone Rocha. Unearthing a strong, sharp side to the good girl that had previously gone unnoticed.

Since its debut at Paris Haute Couture Week early last year, the personal brand Robert Wun, founded by Hong Kong designer Weijun Wan, has gradually become the new favorite of celebrities' red carpet dresses in just one year, and its rapid rise in popularity has also brought it a more substantial customer base.

The Spring/Summer 2024 Couture collection is Robert Wun's second show at Paris Couture Week, which also coincides with the brand's 10th anniversary.

Therefore, the couture show is more like a fusion of new exhibition and anniversary, and various iconic design elements of the brand's past are also reflected in the collection.

Continuing the design language of the first season, a crystal simulated raindrop embroidered dress kicked off the show, a series of ruffled cuffs and hemlines echoed classic looks from Robert Wun's ready-to-wear collections, and surreal hand-molded headpieces added a surreal touch to the show.

In addition, Robert Wun further dissected the theme of thriller, drawing inspiration from the mood of horror, "I love movies, I think some horror films are not scary, but really poetic."

From the shattered mirror-patchwork coat to the bloodthirsty bride's dress with red crystals, it's the story that the shape projects that's terrifying, and the romantic Robert Wun goes to great lengths to create the effect.

The most dramatic part is the end of the show, the model in a red dress, carrying a humanoid device of the same color as the dress, its movement is still frozen in the last moment to adjust the costume. Could this be Robert Wun alluding to the intense pace of his writing, or is it a projection of another kind of thriller? Fashion is a dream, but the "dream" is a neutral word, Yun Weijun in his own design to explain to us, even if it is a horrible dream, it is not worth appreciating.

Viktor Horsting and Rolf Snoenen, who have always been unconventional, started with "cutting", an action process in high definition production, neither real cutting nor qualitative cutting, but simply through the form of "cutting" to find the possibility of classic works being destroyed and reshaped.

The traditional background music was replaced by rustling and clipping, and 28 looks were presented in groups of four, describing how basic stand-up collars and dresses fell apart with seemingly random and destructive cuts, yet inadvertently set up a new aesthetic point, as Snoenen put it: "On the one hand, we want something elegant and sophisticated, and on the other hand, we want to express something raw, direct and pure."

But to achieve this "effortless," straightforward beauty, Horsting and Snoenen expended as much effort as they did in a traditional, high-order fabrication process, such as a randomly torn dress, where each layer of fabric was hand-sewn for about 300 hours. To complete what the duo described as "couture with a punk attitude."

Not only Viktor & Rolf, in this season's Haute Couture fashion Week, has been delivering a clear signal from beginning to end, in today's era, the beauty conveyed by Haute couture is not just a castle in the air, with creativity as the core, Haute couture can trigger more harmonious resonance related to the present, so that it is fearless of the challenges of changing times.