Voluminous shapes and silver tones were prominent at this year's couture shows, as a model for Armani Prive demonstrates.Pascal Le Segretain/Getty Images
Sporting a humongous pink-feather bow atop her silvery bob, 13-year-old Chicago blogger Tavi Gevinson is demurely posing for a photographer in the grand salon of Dior's Avenue Montaigne headquarters. For fashion's latest media darling, receiving a coveted invitation to the intimate couture presentation is a fantasy come true. She is starry-eyed as she tells me that her headpiece - no doubt a gift - was designed by Dior's Stephen Jones, one of the best milliners on the planet.
One room over, 87-year-old Pierre Cardin - Christian Dior's star assistant in the late 1940s - marvels at how the high-fashion business has changed over the years. Throughout the late forties and fifties, these elegant quarters were frequented by some of the most fashionable icons of the 20th century, including Hollywood stars like Ava Gardner, socialites such as Standard Oil heiress Millicent Rogers and stylish royals like the Duchess of Windsor.
Last October, Dior's John Galliano did away with large-scale theatrics, deciding a return to intimacy was in order. To that end, he presented his collection the old-fashioned way, allowing guests to see the meticulous detailing in his garments up close. It was a welcome move that he repeated for the house's spring couture collection this week.
As the show began, the sound of galloping horses heralded Galliano's posh parade of equestrian-inspired looks. Trim riding jackets and elegant, draped skirts were both feminine and dramatic. Silk-satin dresses came in olive, raspberry, sapphire and magenta, while pastel shades were featured in delicately embroidered tulle and lace confections. Among the guests, pop diva Kylie Minogue admitted that she was drooling: "So beautiful!" she gushed.
Over at the Trocadero, Giorgio Armani presented his Privé collection by the light of the silvery moon, which gave the glistening ivory, black and silver pieces a futuristic vibe. Moulded shoulders, sculptural jackets, long and short dresses and skinny pants oozed glam modernity, while voluminous sparkling tulle evening gowns were a classic throwback. Two generations of actresses - Anne Hathaway and Claudia Cardinale - came out to support Armani along with Tina Turner, who was suitably wowed. "I loved it all - though I don't really have many red carpets to wear that kind of stuff to," the singer lamented. Armani, who's been troubled with health issues lately, looked much heartier than last season.
When it comes to wearability and desirability, Karl Lagerfeld usually manages to hit home runs, and this Chanel collection was no exception. The Kaiser once again managed to create a wide range of looks that were at once distinctive and revolutionary. Abandoning his trademark black, he presented lighthearted fare like cream, ivory and dove-grey bouclé suits trimmed with sparkling fabric. Embroidered, frothy tulle and silk organza dresses were stitched and pleated to perfection, some resembling mille-feuille desserts. Metallic stockings and shoes anchored the feather-light looks. " I loved the theatricality," said actress Anna Mouglalis.
"It's about confidence," echoed Riccardo Tisci at Givenchy. Tisci worked hard at delivering a tightly edited collection of dramatic creations. The 33-year-old designer, who has managed to resuscitate the once-ailing house of Givenchy in five short years, is couture's youngest creator. "His clothes are so empowering," said hip-hop diva Ciara, his new muse.
But no one managed to charm this season like Jean Paul Gaultier, who chose a Mexican theme inspired by Mel Gibson's 2007 movie Apocalypto . "This isn't just about Mexico, but everything that came before it - the Mayans and the Aztecs and the Incas," Gaultier told me backstage. "And there's even some Avatar thrown in!" he laughed.
With that motley mix of influences, he staged the most entertaining show of the week, featuring a mad mélange of vivid colours, basket-weave leather and fringe galore. Former model Inès de la Fressange, a long-time Gaultier devotee, summed it up perfectly: "His clothes can be both wearable and wild," she said.
Wearability can be a touchy subject in the world of couture. Certainly, these masterpieces deserve to be worn, but it is hard to imagine some of the more magnificent and gargantuan gowns ever making it out into the real world.
But couture is also meant to be a laboratory, where designers can experiment with new visions and new approaches. That's exactly what Valentino's Maria Grazia Chiuri and Pier Paolo Piccioli are doing. While the label will always stand for a certain feminine aesthetic, these two designers continue to bravely push its parameters.
This collection was light, airy and unstructured - some of the models actually wore gauze blindfolds. Embroideries, beadings, appliqués and feathers adorned easy-to-wear tunics and dresses, many ruffled, ruched or pleated. Colours were soft and upbeat - blush, coral, violet, lemon, jade and celestial blue.
"This is exactly the way I want to dress," said Russian-born model Natalia Vodianova. It was just the testimony to suggest that Valentino is on the right track. If couture is to have a future, it's got to start wooing a new generation.
Too bad Tavi wasn't around to weigh in on this show. But her presence front-row centre at so many of the couture presentations this week was proof that designers are eager to cultivate a new clientele - especially young globetrotters with money and imagination.
Jeanne Beker is the host of FashionTelevision.