In other words, how much more can haute couture coexist with real life scenarios?

van Herpen from the Netherlands was the first to start thinking.

This year marks the 30th anniversary of Viktor & Rolf, and perhaps no one could have imagined that the creative duo who once earned the attention of the fashion world with their playful designs would continue to do so for so long.

In this process, the generational change of consumer groups, the change of communication mode, the change of business environment, and the adjustment of brand operation ideas seem to have no impact on their scattered focus on clothing performance.

Different from the practice of redesigning the brand's classic design with an all-white system at the 25th anniversary, in the autumn/Winter 2023 couture collection, Viktor Horsting and Rolf Snoenen started with two seemingly opposite clothes that rarely appear in women's couture design -- underwear and suits. Embellished with instantly recognisable slogans such as "NO", "DREAM ON" and "I WISH YOU WELL", fashion lovers take an unconventional look back at the creative past.

More likely to provoke public discussion, is the latter half of the show, in a variety of bodies attached to the body of female models of the suit mannequin.

"It's an open imagination," Horsting and Snoenen said, drawing enthusiastic responses from social media users. "It could be your boyfriend trying to keep you," "It could be your boss riding on your head." All kinds of speculation are full of realistic irony and ridicule, which also proves from the side that Viktor & Rolf's creativity is once again successful.

When Julien Dossena was announced as the latest guest designer for Jean Paul Gaultier's Haute Couture collection, the fashion industry greeted him with expectant applause.

"Jean Paul was the first designer I saw on TV when I was very young, and watching him was the first time I understood that fashion could be a job."

Dossena's humility is evident not only in his words, but also in his design, which he describes as his inspiration, "I wanted them all to be queens, each wearing a different crown."

This should come as no surprise to those familiar with Gaultier's past designs, which doved with the theme of the brand's Fall/winter 2007 haute couture collection.

But Dossena didn't limit his designs to a single season. Instead, he weaves his impressions of Gaultier's creations into the collection, with its signature belted waist, leopard print, tie stitching and a few romantic touches everywhere.

Dossena, meanwhile, was working on another Gaultier assignment: "to do something in honor of Mr. Paco Rabanne."

In the era when Paco Rabanne was active, its bold materials and unusual structural design were questioned and could not even be recognized as wearable clothing, but now, with Dossena on the stage, chain mail, metal fabrics and chains have also been given a good name.

These industrial elements fit so well with Gaultier's sharp work that it's hard to tell the two styles apart entirely.

Not long ago, Paco Rabanne officially changed its name to Rabanne, and with the smooth release of this show, Dossena has completed his work summary of the past ten years, and people have more expectations for him and Rabanne.

When Thom Browne first heard of his couture collection, I believe many people would classify it under the framework of Savile Row suits in London, but in fact, Browne has carved out his career precisely by revolutionizing traditional menswear by changing the proportions and the way he wears it.

And since then, Thom Browne, across the men's and women's collections, has quickly emerged with a topical show, which is undoubtedly suitable for the high definition dream system, and it is also time to challenge the higher level of clothing.

Perhaps there was no more dramatizing Thom Browne at the Opera Garnier in Paris, and when the curtain went up, guests found themselves sitting on stage in front of an audience of 2,000 uniformed "dummies."

Thom Browne adhered to his own design characteristics, and the gray fabric and symbolic suit design made it instantly recognizable as his work.

And he also conceived a story that is comparable to the opera stage, supermodel Alek Wek incarnated the heroine, sitting on the platform, looking at the people, things, and things that he imagined in his mind, and finally chose to return to reality, and did not board the train leading to the hallucinational dream.

"I want people to understand what I do -- start with tailoring, start with a conceptual idea, and then tell you a story," so the spectacle of the high-priced debut was both unexpected and understandable. "I'm just doing what I do, but elevating it to a level that deserves to be shown this week." Thom Browne explains.

Charles de Vilmorin's name has an aura, both in his experiences at Rochas and in the artistic atmosphere that permeates his life. Even though the experience at Rochas was not pleasant, he still wanted to use elegant strokes to resolve the inner haze. "I was not in a good mood for the past year," de Vilmorin admits. "I wanted to create something dark and sharp."

However, de Vilmorin did not give up colors other than black, or more accurately, black is only the base color of his colorful colors. His representative artistic painting creation runs through the whole series, but compared with the past design, it is more smooth and more attention to details, and another striking place is the various white accessories worn by models and heads. "When you start creating, it's like a blank SLATE," de Vilmorin explains.

Obviously, this show is a new beginning for him, and the haute couture industry also needs youth power like him to open a new situation for the tradition, isn't it?