The Fall/Winter 2023 Paris Haute Couture Fashion Week has come to an end, and in the four-day schedule, the world's most elaborate, unimaginative, and time-consuming clothing masterpieces have been unveiled one after another.

Although haute couture gradually disappeared from the main stage of fashion trends after the 1970s, the frequency of their emergence is so intensive under the wide spread of social media, especially as the red carpet at home and abroad has become the arena for stars to dress up and compete, a series of brands that were once niche and even did not have their full name began to receive public attention. It also wraps people's cognition of high definition into layers of huge heavy gauze skirt.

But in fact, throughout the history of the haute couture fashion system, the design and aesthetic taste has never been only the volume, embroidery and beading of the hero, these solid fabrics and skills, more for the designer's novel creativity and service, to promote the development of the entire industry.

In the Autumn/Winter 2023 Paris Haute Couture Fashion Week, we saw many designers and brands rooted in their own styles and constantly achieving breakthroughs in concepts and techniques, from the benchmarking Giorgio Armani Prive and Fendi to the conceptual Iris van Herpen, Viktor & Rolf. As well as new forces such as Thom Browne and Charles de Vilmorin, I believe that after reading these new works, we will better understand the significance of high definition in the current fashion industry.

When it comes to roses, what do you think of first? Is it "charming", "charming", or "beautiful" and "sexy"?

For Giorgio Armani, who is about to turn 89, no matter how the design image changes, it should be self-focused and not glamorous.

Therefore, when he chose red roses as the main creative inspiration in this season's couture collection, he did not fall into the romantic tenderness of traditional couture, but took a bright and even slightly strong sense of perspective, compatible with classical and modern, eastern and Western aesthetic concepts.

In the shape of the tall suits and gowns, the red roses are shaped by tulle, decorated with rhinrhinos, and rendered by lacquer to bloom into a full, upright posture, without any pretense or flattery, and appear in the visual center of the shape.

In the world of Giorgio Armani, women wearing haute couture fashion are independent, mature and dignified, full of wisdom, when they appear in important occasions, Giorgio Armani Prive can provide not only fleeting flash and applause, but will set off the personal charm of women. Avoid them becoming a foil for exaggerated design.

The secret of Mr. Armani's creativity, part of it is that he knows restraint and balance, after more than half a century in the fashion industry, any fleeting trend is difficult to confuse his eyes, even if the "dopamine" color can attract temporary attention, but his color is always seeking harmony in the collision, just like under the bright red rose. Reminiscent of Chinese screens and Japanese lacquerware, these enduring aesthetic creations are reborn in haute couture and are a modern continuation of classical vitality.

In a flash, the haute couture series created by Kim Jones for Fendi has come to the sixth season. In the past three years, he has continued to try to combine the details he is good at with Fendi's own strengths, and finally achieved the most organic unity between the individual and the brand in this season.

Focusing on reality, he did not exaggerate the source of inspiration in the field of haute couture, which is keen on "dream making", "this season, we hope to focus on liquidity through the art of haute couture, highlighting the sense of dryness and modeling, and integrating these elements in the current popular style." We based our design on Delfina's fine jewelry.

Indeed, Jones has developed a tacit understanding with Delfina Delettrez Fendi, the brand's artistic director of jewelry, and when the model wears Fendi's first fine jewelry collection and holds a jewelry box like dinner bag, the glow of precious stones emanates from her fingertips into the dress. Jones combines color with jewelry.

"The color scheme this season comes from skin tones and the colors of gemstones such as black diamonds, rubies and sapphires. It's a wonderful clash of softness and hardness, skin and gems." "He said.

In addition to color, Jones also chose to connect the worlds of clothing and jewelry with embroidery techniques, like a closed suit that simulates the full effect of jewelry, with carefully stacked beads and rhinestones, which can take up to 1,200 hours to make.

Of course, this season, he did not ignore the significance of fur as the cornerstone of the Fendi brand, but adopted a more lightweight and practical treatment, avoiding the formal sense of opulence, further clarifying the style of the Fendi haute couture collection.

"After the last season, intuition pushed me to approach the series in a different way, to create a series that was adventurous, exploratory and bold, that felt more organic, more emotional and more improvisational."

This season, Daniel Roseberry decided to tone down the surreal style he once prided himself on, while embracing more intuitive elements and sources of inspiration, with basics like white shirts, slacks, volumized down jackets and cardigans on the runway.

"It's a surreal interpretation of a woman's essential wardrobe." On the basis of the outline structure and production process of classic pieces, Roseberry traced the roots, starting from the close connection between Ms. Elsa Schiaparelli and the artist during her life, to enrich the creation of the couture series: The artist Lucian Freud's paintings inspired the hand-painted patterns on the coats, and the sculptor Jack Whitten's creations inspired his shattered mirror embellishments, not to mention the various high-saturation blues on the show, an unmistakable nod to Yves Klein.

"We live in an age of creativity, Internet disruption, celebrity gags. The units of time come at us on a weekly, daily, and now even hourly basis." Clearly, whether it is the design of the season or the concept mentioned in the show notes, Roseberry is deliberately slow down, return to the creation itself, avoid being reduced to a moment of conversation, "when creative expression and fame are within reach for anyone, at least for a moment, we wonder: What will bring breakthrough? For our brand, it's the power of design, the power of our artisans, the power of human labor."

"I'm from the Netherlands, our country is below sea level," As van Herpen pointed out, even before the coronavirus outbreak, a quarter of the Netherlands was below sea level, and in order to prevent the entire country from being submerged, the Netherlands built a "sea barrier" that is a modern miracle. But van Herpen, who has worked and lived here for a long time, could not help but think about the possibility of aquatic architecture and human life under water in the future, and this was another opportunity for her to turn her imagination into reality.

Rooted in the concept of architecture, van Herpen imparts the distinct fluidity, fragmentation and high-tech features of his design into a more dramatic structural form. "I want to bring the structural elements of architecture in a very smooth way." She explained that they are not just for the body, but also for her vision of the functionality of clothes, "I want these clothes to be alive, move, breathe."