In a dimly lit room at Jean Paul Gaultier’s legendary Paris headquarters, Ludovic de Saint Sernin opened his debut couture show for the maison with a scream a theatrical harbinger of the breathtaking journey ahead. As waves of anticipation swept through the audience, including Megan Thee Stallion, Jennie Kim, and Rick Owens, the young designer unveiled Le Naufrage “The Shipwreck”, a collection that blended Gaultier’s iconic sensuality with his own raw edge.

De Saint Sernin, the eighth and youngest guest designer to helm Gaultier’s couture line since his 2020 retirement, reimagined the house’s maritime DNA with audacious storytelling. Drawing on Gaultier’s treasure trove of signatures, from cone bras to sailor motifs, the designer delivered a collection steeped in subversive sensuality and unabashed glamour. Inspired by Disney’s The Little Mermaid and a 1997 Gaultier headpiece resembling a ship, de Saint Sernin charted a course through myth, fantasy, and high fashion.

The show opened with a sea-green corseted gown adorned with shimmering scales, evoking a sultry mermaid washed ashore. The narrative unfolded with pieces that told their own stories: gowns resembling ship sails tied with ropes, a headpiece shaped like a ship’s silhouette, and latex ensembles embossed with crocodile textures. Rope-like pleated jersey voile, glimmering tartan, and an astonishing 50,000 brass pearls captured the untamed chaos and opulence of the sea.

For all its theatricality, de Saint Sernin’s collection also honoured the artisanal craftsmanship that defines haute couture. Feathers appeared waterlogged, chiffon was pleated to mimic waves, and traditional techniques merged with bold experimentation. The result? A line-up that felt as nostalgic as it was revolutionary.

Fashion’s most celebrated muses brought Le Naufrage to life on the runway. Paloma Elsesser, Rosie Huntington-Whiteley, and Alex Consani embodied characters in the designer’s shipwrecked tale a pirate, a sailor, a siren each captivating the audience with a singular sense of allure.

The designer’s vision extended beyond the runway, capturing the irreverent spirit of Gaultier while injecting his own brand of “sensual but sophisticated, slutty but classy” allure. “I wanted to tell a story that feels like a unique experience, where every look transports you into a new world,” de Saint Sernin said.

The grand finale saw de Saint Sernin join Gaultier on the runway for a heartfelt embrace, a symbolic passing of the torch. Whether Le Naufrage marks the final chapter in Gaultier’s guest designer experiment remains uncertain, but one thing is clear: Ludovic de Saint Sernin’s couture debut has set a daring new benchmark for storytelling and innovation in high fashion.

With Le Naufrage, de Saint Sernin didn’t merely honour Jean Paul Gaultier’s legacy, he redefined it, penning a bold new chapter in the maison’s storied history.

Words By Claire Gaura 

The post Pure Glamour: Jean Paul Gaultier Spring Summer 2025 Haute Couture Collection appeared first on Voir Fashion.

Schiaparelli’s Spring/Summer 2025 Haute Couture collection, titled Icarus, opened Paris Couture Week with a magnificent display of innovation and craftsmanship that left the fashion world in awe. Inspired by the Greek myth of Icarus, whose tragic flight towards the sun symbolises the dangers of ambition, creative director Daniel Roseberry’s latest offering embraces both risk and reward. Far from a cautionary tale, Icarus embodies Roseberry’s own “quest for perfection” in haute couture, challenging modern ideas of simplicity by leaning into opulence, extravagance, and dramatic silhouette construction.

Roseberry’s collection asks a provocative question: Can modern fashion be baroque, extravagant, and layered, or is minimalism the only way forward? With this, he set out to reshape the idea of modernity by fusing the past with the future. His vision was clear: to create couture that feels new, despite drawing on the lessons of legendary designers such as Yves Saint Laurent, Charles Frederick Worth, and Azzedine Alaïa. The result was a stunning mix of antique influences and futuristic forms, with exaggerated hourglass shapes and structures that seemed to defy the laws of fashion.

The collection’s focus on sculptural, almost architectural silhouettes was undeniable. Corseted dresses, voluminous hips, and exaggerated peplums were framed by crinoline-like structures that flared dramatically as the models moved. This sense of grandeur and high fashion was further amplified by the use of metallic fabrics, antique-inspired ribbons, and intricate pleating that evoked the craftsmanship of fashion’s golden ages.

At the heart of Icarus was a celebration of complex construction and embellishment. Models strutted down the runway in couture creations that embodied Roseberry’s vision of maximalism—rich fabrics of tulle, silk, and lace glimmered under the lights in a colour palette of muted nudes, dusty greens, and saffron browns. This was a world of sculptural garments where the exaggerated waistlines and dramatic trains seemed to reach for the heavens themselves, perfectly capturing the ambition of Icarus.

Signature pieces, such as Kendall Jenner’s heavily boned corset dress in pearl grey satin, made an unforgettable impact. The dress, with its sculpted train, perfectly balanced elegance with the boldness of couture’s tradition. Meanwhile, Mona Tougaard’s look seemed to transcend the runway entirely, with a look described as art-like and mesmerising. The main topic of conversation was Tougaard’s look, with many questioning where her waist had gone, and some even going so far as to suggest that it should be Zendaya’s next red-carpet look. Also notable was Alex Consani’s opera coat, a sensual creation adorned with feathers and designed to be worn off the shoulder, creating an elegant yet seductive silhouette.

Throughout the show, Schiaparelli’s hallmark craftsmanship was evident, from the intricate corsetry to the visible and invisible padding that created “impossible” silhouettes. The attention to detail was extraordinary, with pearls, beads, jacquard, and velvet forming a rich tapestry of textures that adorned each piece.

Models like Kendall Jenner and Mona Tougaard stood out not only for their physical presence but for how they embodied the spirit of Schiaparelli with grace and strength. Their runway moments were a testament to the power of couture and the remarkable vision behind it.

The Icarus show attracted a dazzling array of celebrity guests, seen in full Schiaparelli, adding an extra layer of excitement to the event. Carla Bruni, Kelly Rutherford, Philippine Leroy-Beaulieu, Gabrielle Union, Anna Wintour and Regina King were just a few of the notable figures in attendance. Their presence underscored the collection’s significance, and their reactions spoke volumes about the impact of Roseberry’s work.

As luxury fashion faces a downturn, many designers are embracing minimalism to appeal to more practical and understated tastes. However, Daniel Roseberry’s Icarus is a bold rejection of this trend. Instead of toning down the glamour, he embraced maximalism, creating garments that feel like an escape from the ordinary. His commitment to intricate details, opulent textures, and dramatic shapes proves that haute couture is not merely about fashion—it’s about fantasy, escapism, and pushing boundaries.

For Roseberry, haute couture is not just about creating beautiful clothes; it’s about challenging expectations and reaching new heights. “How high can we couturiers go?” he asks. “As high as the sun—and the Gods—allow us.” With Icarus, he has done just that, proving that risk, when executed with skill and imagination, can yield extraordinary results.

Since taking the helm at Schiaparelli in 2019, Daniel Roseberry has redefined what it means to design for the modern woman. With Icarus, he continues to elevate the legacy of the house, balancing its rich heritage with a forward-thinking vision. His dedication to haute couture as an art form, rich in history, beauty, and innovation, cements his position at the forefront of contemporary fashion. Icarus is not just a collection; it’s a statement of what can be achieved when ambition and creativity reach for the sky.

Words by Claire Gaura 

The post Sculpting Fashion: Schiaparelli’s Spring Summer 2025 Haute Couture Show appeared first on Voir Fashion.