Do you know that global fashion brands Hermes, Christian Dior, and Louis Vuitton all share a special Indian connection? Well, all your favourite luxury brands bank on Indian ateliers to do intricate handiwork and embellishments for their catwalk and show-stopping products. In this episode of Beyond of Runway S2, we take you into the journey of how craft is the new couture.

How Indian craft is the new couture on world stage | Beyond the Runway

Harlequins and Pierrot clowns entertained at Christian Dior's Haute Couture catwalk show in Paris on Monday, as models sporting ruffs, sequined dresses and ringmaster jackets paraded through a circus tent, surrounded by acrobats.

Glittering bonnets by milliner Stephen Jones and sparkling shoes added to the whimsical collection, on the first day of Haute Couture Fashion Week, a celebration of an elite club of high-end designers with one-of-a-kind outfits.

Actresses Felicity Jones and Rachel Brosnahan looked on from the front row, as the models wove their way through human towers formed by the troupe of female acrobats.

Polka-dotted skirts and extravagantly beaded bodysuits contrasted with more subtle looks at the show, with black or white ruffle necks recalling the melancholic Pierrot, a fictional love-worn clown.

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Standout numbers at the LVMH -owned brand included a gold pleated evening dress with a Grecian twist.

Dior said in show notes that the circus was a "magical place" which its eponymous late founder had enjoyed visiting.

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"The circus is something that goes around the world and changes the city when it arrives. It's like fashion week when arriving in Paris or Milan, it changes the atmosphere," womenswear designer Maria Grazia Chiuri told journalists.

Haute Couture Week runs until Jan. 24, with grandees of Parisian fashion like Chanel and Jean Paul Gaultier as well as newer designers such as Julien Fournie and Alexis Mabille set to present their styles in the run of 30 catwalk shows.

Harlequins and Pierrot clowns entertained at Christian Dior's Haute Couture catwalk show in Paris on Monday, as models sporting ruffs, sequined dresses and ringmaster jackets paraded through a circus tent, surrounded by acrobats.

Harlequins and Pierrot clowns entertained at Christian Dior's Haute Couture catwalk show in Paris on Monday, as models sporting ruffs, sequined dresses and ringmaster jackets paraded through a circus tent, surrounded by acrobats. Glittering bonnets by milliner Stephen Jones and sparkling shoes added to the whimsical collection, on the first day of Haute Couture Fashion Week, a celebration of an elite club of high-end designers with one-of-a-kind outfits. Actresses Felicity Jones and Rachel Brosnahan looked on from the front row, as the models wove their way through human towers formed by the troupe of female acrobats. Polka-dotted skirts and extravagantly beaded bodysuits contrasted with more subtle looks at the show, with black or white ruffle necks recalling the melancholic Pierrot, a fictional love-worn clown. Standout numbers at the LVMH -owned brand included a gold pleated evening dress with a Grecian twist. Dior said in show notes that the circus was a "magical place" which its eponymous late founder had enjoyed visiting. "The circus is something that goes around the world and changes the city when it arrives. It's like fashion week when arriving in Paris or Milan, it changes the atmosphere," womenswear designer Maria Grazia Chiuri told journalists. Haute Couture Week runs until Jan. 24, with grandees of Parisian fashion like Chanel and Jean Paul Gaultier as well as newer designers such as Julien Fournie and Alexis Mabille set to present their styles in the run of 30 catwalk shows.

Christian Dior's Haute Couture circus clowns conjure up magical place

Rebel brand Vetements sent fashion into a spin on Sunday with an haute couture show that broke all the rules, appropriating clothes and shoes from 17 other brands and recutting them in its own irreverent neo-Soviet street style. 
 
The most talked about brand in fashion had been invited to the show as a guest in the elite, uniquely Parisian events, seen as the pinnacle of exclusive made-to-measure clothing. 
 
But instead of bowing to couture&#39;s near century-long tradition of handmade artistry, Vetements called in brands as diverse as Levi&#39;s, Mackintosh and Brioni to supply them with their trademark garments which they then remade. 
 
The result was an attention-hogging show that left few indifferent. 
 
Social media was abuzz afterwards with the red velour tracksuits with &quot;Juicy&quot; picked out in crystals across the bum, gigantic dungaree-aprons and hoodies with shrunken hoods. 
 
The show began with the oversized jackets that have become Vetements calling card, replete with their overlong &quot;gorilla sleeves&quot;. 
 
Then designer Demna Gvasalia rolled out a series of jarring, eye-catching new tropes, pulling up his perennial thigh-high boots so they sometimes reached to the waist and beyond. 
 
He even seemed to be trying to create a previously uncharted erogenous zone halfway between the navel and the sternum by pulling diamond-shaped peep holes in his Comme des Garcons shirts. 
 
Also striking was how Georgian-born Gvasalia - who fans hail for defying the &quot;system&quot; - set out to blur the difference between high and low end brands with Dr Martens boots and Manolo Blahnik stilettos sharing the same runway. 
 
&quot;The idea was to work with brands and their specialised suppliers,&quot; he told reporters backstage after the show. 
 
&quot;Vetements unsubscribes to the difficult production cycle that has been forced upon many designers,&quot; the label said in a statement, referring to the punishing turnaround times creators increasingly must adhere to.&nbsp; 
 
&quot;Trailblazing brands - trendsetters of their time - are still relevant today. Not only because of their acclaimed designs, but also because of years of perfecting material and production methods,&quot; it added. 
 
While many questioned whether Vetements&#39; spring men and women&#39;s show was really haute couture, few doubted that it was a shock to the increasingly frenetic fashion system which has seen many designers complain of burnout. 
 
Unlike most of their peers who produce several collections, Vetements, founded by 35-year-old Gvasalia and his younger brother Guram only two years ago, make only two a year so their clothes can spend longer in the shops. 
 
But in one crucial respect the Gvasalias did bow to pressure. Having been pilloried for the lack of black faces in their previous shows, this one was more diverse, prompting Elle magazine&#39;s Kenya Hunt to tweet, &quot;Nice to finally see some people of colour on the Vetements runway&quot;. 
 
Another post-Soviet creator also impressed on Sunday, with the Kazakh designer Ulyana Sergeenko using suspender belts worn over clothes to symbolise &quot;Khrushchev&#39;s thaw&quot; in the 1960s. 
 
In the two other highlights of the opening day, Donatella Versace unveiled an un-typically demure 1950s influenced collection of shimmering gowns that still managed to show off the legs. 
 
And Yuima Nakazato, best known for his creations for the singer Lady Gaga, became the first Japanese designer to show in haute couture for more than a decade. 
 
His futuristic feathery ensembles used coloured layers of PVC cut by machine and then &quot;treated as origami&quot;. 
 
&quot;Combining technology with craftmanship could be the future of couture,&quot; he said afterwards. 
 
(AFP)

Brand takes burnout message to the catwalk, with their usual shock-and-awe treatment

Rebel brand Vetements sent fashion into a spin on Sunday with an haute couture show that broke all the rules, appropriating clothes and shoes from 17 other brands and recutting them in its own irreverent neo-Soviet street style. The most talked about brand in fashion had been invited to the show as a guest in the elite, uniquely Parisian events, seen as the pinnacle of exclusive made-to-measure clothing. But instead of bowing to couture's near century-long tradition of handmade artistry, Vetements called in brands as diverse as Levi's, Mackintosh and Brioni to supply them with their trademark garments which they then remade. The result was an attention-hogging show that left few indifferent. Social media was abuzz afterwards with the red velour tracksuits with "Juicy" picked out in crystals across the bum, gigantic dungaree-aprons and hoodies with shrunken hoods. The show began with the oversized jackets that have become Vetements calling card, replete with their overlong "gorilla sleeves". Then designer Demna Gvasalia rolled out a series of jarring, eye-catching new tropes, pulling up his perennial thigh-high boots so they sometimes reached to the waist and beyond. He even seemed to be trying to create a previously uncharted erogenous zone halfway between the navel and the sternum by pulling diamond-shaped peep holes in his Comme des Garcons shirts. Also striking was how Georgian-born Gvasalia - who fans hail for defying the "system" - set out to blur the difference between high and low end brands with Dr Martens boots and Manolo Blahnik stilettos sharing the same runway. "The idea was to work with brands and their specialised suppliers," he told reporters backstage after the show. "Vetements unsubscribes to the difficult production cycle that has been forced upon many designers," the label said in a statement, referring to the punishing turnaround times creators increasingly must adhere to. "Trailblazing brands - trendsetters of their time - are still relevant today. Not only because of their acclaimed designs, but also because of years of perfecting material and production methods," it added. While many questioned whether Vetements' spring men and women's show was really haute couture, few doubted that it was a shock to the increasingly frenetic fashion system which has seen many designers complain of burnout. Unlike most of their peers who produce several collections, Vetements, founded by 35-year-old Gvasalia and his younger brother Guram only two years ago, make only two a year so their clothes can spend longer in the shops. But in one crucial respect the Gvasalias did bow to pressure. Having been pilloried for the lack of black faces in their previous shows, this one was more diverse, prompting Elle magazine's Kenya Hunt to tweet, "Nice to finally see some people of colour on the Vetements runway". Another post-Soviet creator also impressed on Sunday, with the Kazakh designer Ulyana Sergeenko using suspender belts worn over clothes to symbolise "Khrushchev's thaw" in the 1960s. In the two other highlights of the opening day, Donatella Versace unveiled an un-typically demure 1950s influenced collection of shimmering gowns that still managed to show off the legs. And Yuima Nakazato, best known for his creations for the singer Lady Gaga, became the first Japanese designer to show in haute couture for more than a decade. His futuristic feathery ensembles used coloured layers of PVC cut by machine and then "treated as origami". "Combining technology with craftmanship could be the future of couture," he said afterwards. (AFP)

Fashion rebels Vetements stitch up haute couture

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