All the Major Highlights from Paris Fashion Week | Savoir Flair
Paris Fashion Week
All the Major Highlights from Paris Fashion Week
by Hanadi Merchant-Habib 10-minute read March 8, 2023

Discover the highlights from Paris Fashion Week Fall/Winter 2023, including canine robot's at Coperni, Cecilie Bahnsen's dreamy cloud dresses, and Schiaparelli's first-ever ready-to-wear collection.


If runway fatigue was a thing during Fashion Month, then Paris Fashion Week is its antidote. With some of the best styles, both on the runways and the streets, it's usually our favorite part of the month-long affair. For the most part, save for robot canines at Coperni, designers kept their theatrics to a minimum. Balmain's show had only 250 attendees this time versus the spectacle of 8,000 people for its Spring/Summer 2023 show. Meanwhile, Daniel Roseberry presented Schiaparelli's first-ever ready-to-wear collection, and it did not disappoint, and Rick Owens sent sequined puffer jackets that could double as pool donuts. Overall, designers focused on wearability – be it for occasionwear or chic daytime dressing. Keep reading as Savoir Flair takes you through the best shows at Paris Fashion Week.



With nary a logo in sight yet instantly recognizable, Schiaparelli’s first ready-to-wear collection delivered everything we’ve come to expect from Daniel Roseberry. Most garments had quintessential Roseberry details – keyhole motifs and gilded anatomical references. Sportswear silhouettes were cut with couture-like precision – except none would be worn to perform actual sports. We can picture the black puffer with gold hardware at a Courchevel hotspot. Elsewhere, his rendition of yoga leggings was tucked into decadent boots.

There was a whole wardrobe on offer here – polo neck tops worn under jackets, quilted stretch satin cardigans with leather trim and gold hardware, dark rinse denim, and trouser suits – all served with a side of Schiaparelli wit. A Japanese denim shirt with oversized and gathered sleeves worn over a pleated skirt was an absolute knockout, as was a jersey dress with a keyhole cut-out on the chest. Of all the velvet looks he sent down, nothing quite hit the spot like the black strapless dress with golden brass jewels forming a trompe-l’oeil on the bust. Real fashion doesn’t need a viral moment or logos – and this is as real as it gets. Bravo!


Rick Owens

Rick Owens doesn’t do mainstream fashion. It’s not every day you’ll see women parading around in poufs encircling a model’s body (think pool donuts), or coats with shoulders reminiscent of bat wings that were higher than the models’ heads. Despite the avant-garde, there were some pretty wearable looks as well. There were recycled cashmere dresses, skirts slashed past the hip bone, and chic capes worn over the shoulders. Denim was shredded so finely it was unrecognizable; cue those tiny shorts with frayed denim trailing behind.

Ultimately though, his work with sequins stole the show. Matte sequins in dusty pink, lime green, black, and purple were crafted into liquid capes, fringed coats, puffer jackets, and magnificent dresses. Case in point: a one-shoulder sequined top with a leg-o-mutton sleeve worn over a shimmery skirt twisted and knotted to one side – simply sublime.


Victoria Beckham

Feathers, color blocking, and fishnet stockings – Victoria Beckham was in a playful mood when designing her fall lineup. Immaculately cut pantsuits with fluid trousers would easily transition from lunch to an evening out. A powder blue suit came with a structured hourglass blazer and one lapel casually folding over. Meanwhile, a plum pinstriped suit offered a more relaxed vibe. Elsewhere, a series of color-blocked patchwork silk plissé dresses with ostrich feathers were fantastic. One of our favorites was a lipstick pink, red, and black dress with sleeves knotted on the shoulders. Those oversized and sculptural knit tops with contrast piping on one sleeve made for excellent separates, as did the skirts with sculptural panels on the side. We can picture Victoria Beckham herself dressed in the blue gown with a wired hem for her next big outing.



Chloé’s Gabriela Hearst was on a journey of fabric development for the label’s Fall/Winter 2023 collection. Patchwork suede, hand-appliquéd satin on wool, low-impact wool gauze – all these unique textures brought to life the easy breezy silhouettes the house is known for. There wasn’t a gimmicky moment in the show – just pragmatic clothes to be cherished and worn for multiple seasons. Timeless examples abounded, like the simple yet chic slips (the patchwork leather one especially was lovely) and gauzy knit dresses. Additionally, there was plenty of great outerwear – the shearling bomber, in particular, was excellent. Other separates included luxurious leather skirts, off-shoulder shift dresses, and well-cut pantsuits. The leather tailoring here was unparalleled. At a glance, the yellow, white, and black jacket and skirt could pass off as printed, but up close, each leather strip was stitched to another. Other standout pieces included a stellar ruched puffer cape coat crafted from recycled nylon and a dress with hand-embroidered scenes from Book of Esther.


Dries Van Noten

At Dries Van Noten, ‘pinstripes’ was the word of the day. The suiting fabric was molded into a skirt, shirt, and blazer, and somehow it was not "boardroom boring". A pinstriped pantsuit was styled with a bullion gold leather blazer on top, while a similar shirt was tucked into a blanket floral skirt. These were clothes that went back to focusing on the basics – cut, fabric, and a little something extra. Coats dusted with gold foil on the torso were impactful, as were magnificent brocade coats. There were so many little details that made this collection special, like the skirts with sheer, organza hems or a double-breasted blazer with a big patch of embroidery on one side and a dress with distressed velvet florals.



Ibrahim Kamara’s second collection for Off-White was exhilarating from the get-go. The mood was futuristic with a dash of punk; metal holes adorned most of the clothes, and tires were used as bracelets. On leather harnesses, the ruffled hems of dresses, and the sharpest knife pleat leather skirt, those holes were an extension of the late Virgil Abloh’s meteor cutouts, and Kamara’s metal versions were cool. A terracotta jacket with matching culottes punctured with holes was striking, as was a black coat with a hole cutout on the bust and a giant buckle on the waist. As the show progressed, the detailing got more intense. A fitted zip-up dress with pleats that could open and close with zippers, Naomi Campbell’s knit dress with a sculptural beaded circular neckline, and a dramatic gabardine cape were stellar examples. While Campbell may have closed the show with a zippered dress, it was a beaded pannier gown that was the ultimate show-stopper. It’s no easy feat filling Abloh’s shoes, but Kamara shows he’s up to the task.


Cecilie Bahnsen

Cecilie Bahnsen’s collections are always a delight. Those cloud-shaped dresses in dreamy colors never disappoint. This fall, she expanded her color palette to include bright yellow, cerulean, and fresh silhouettes. Off-shoulder poufy dresses came with delicate cherry blossom embroidery in delicious colors like vibrant blue, lemon yellow, and rose pink and were tied at the back with delicate strings. Next up was a series of all-black looks where a denim jacket with exaggerated peplum and a black metalassé skirt with a large bow at the back were stand-outs.

The same romantic aesthetic was lent to her outerwear. Case in point: a bonded cotton coat with bishop sleeves had an ethereal sheer overlay at the back, while a quilted nylon belted coat boasted floral motifs all over. Bahnsen has always been vocal about the fact that her clothes aren’t meant for only special occasions. That every look was paired with Asics sneakers only goes to prove it.



Nicolas Di Felice had quite the front row for the Courrèges show. From Julia Fox to Lisa Rinna – it was evident that the space-age clothes he makes are for everyone. The models walked the runway – hands coming out of slits carved into sculpted coats, bombers, and hoodies – all looking at their phones. Elsewhere, large circular cutouts were on the décolleté in typical 1960s style,  complete with round silver pendants. Next up were jumpsuits and form-fitting maxi dresses with a small hole exposing the naval, slightly off-key, but it worked (ish). Unfortunately, the logo-bearing looks didn’t work and looked too "try-hard". Still, one can’t deny that Di Felice is slowly breathing life into what was once a dying heritage label. So what do we make of the silver-grey sequined number that closed the show? Well, it was electrifying.



Power shoulders, cinched waists, and structured peplums – Olivier Rousteing's Balmain army was dressed to kill. In a denim top with a large bow on the bust and matching jeans to lunch or perhaps the hooded mini dress with fan-like ruffles jutting out to the side for an evening out. Rousteing looked at archival silhouettes as a reference point – hence many nipped waists. He also brought back the polka dots – the ultimate French classic. Except his version came as embellishments – on an off-shouldered mini, they came as large crystals embroidered all over, while on a laser-cut velvet dress, they came as pearls. Elsewhere, there were flouncy skirts a la Christian Dior's 'New Look'. Next up, he played with a PVC-like fabric which was crafted into a slick off-shoulder dress and took you straight back to the 1940s. Rousteing kept the theatrics on the down low this time – and the clothes did all the talking.



Coperni’s Sébastien Meyer and Arnaud Vaillant again had the internet in a frenzy with yet another viral moment on the runway. This time, there were canine robots – one stripped off a model’s blanket coat to reveal a slip dress underneath. The duo, who have mastered elegant French staples, sent down a series of tailored trousers, chic coats, and masculine blazers. Somewhere in between, they injected some humor with hardware emojis pinching the fabric of sweaters and dresses – gathering them to one side.

The styling here was effortless. Some of our favorite looks were a sweater worn over a crisp shirt paired with a raw-hemmed skirt or a well-cut blazer worn over formal shorts. Elsewhere, two leather jackets depicting imagery from The Wolf and the Lamb were excellent creations. What didn’t make sense were the capes – with almost no room for the hands to move – or the white poplin shirt knotted from the front with the model’s hands hidden inside. The balance between practicality and fashion was lost at times. With everyone talking about the show’s theatrics, the fact that 70 percent of this collection was recycled was lost in the deep web.


Vivienne Westwood

In an overwhelmingly emotional tribute, Vivienne Westwood’s life partner, Andreas Kronthaler, sent down a collection that will go down in fashion history. The show was closed by her granddaughter Corra Corré, and her sons were in attendance too. The front row was packed with the who’s who of the fashion world, including Jean Paul Gaultier and Jared Leto. The show opened with a blouse with a quirky photo of the designer worn over a tartan mini, printed leggings, and boots inspired by her ‘Elevated Ghillie’ shoes. The collection culminated her archival punk references from over the decades. There were lots of skirts – Westwood used to love how they moved. Yards and yards of tartan appeared on coats, pants, and boots. The duo used to collect vintage fabrics – and so there were silk hot pants crafted out of them. Westwood’s old muse Sara Stockbridge also appeared – wearing a blue outfit with little flowers on it, while Farida Khelfa walked the runway in a slouchy blazer and mini skirt paired with tartan boots. The tributes were never-ending – befitting her unparalleled contribution to fashion.



At Lanvin, Bruno Sialelli is breathing new life into the house. For the fall lineup, there were many elegant and timeless silhouettes. The outerwear was especially strong – shiny faux crocodile leather coats in forest green, and deep purple, a distressed green leather duster, and a voluminous pink cocoon coat were all excellent. Deep V-neck evening dresses exposed itty bitty bralettes;  a pink sequined number and a lovely green dress paired with opera gloves were both beautiful. Other interesting pieces included expertly tailored blazers and covetable thigh-high boots. Overall, it was a good collection with solid “going out” clothes. Unfortunately, it lacked a wider range of simple closet staples like blouses and knitwear – the same black button-down shirt appeared in three looks. Here’s hoping his next collection fills the void.

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