Dolce & Gabbana Hosted a Very Lavish Couture Weekend in Sicily

Twice a year, the cognoscenti of the fashion world make their way to Paris for Couture Week for jam-packed days of high fashion with a capital F. For the uninitiated, the schedule is a mix of industry heavy-hitters like Chanel and Dior, along with exciting names like Schiaparelli and Balenciaga making their mark on this historic mode of fashion. Another one to take in: Olivier Rousteing’s guest collection for Jean Paul Gaultier. Below, read about all the happenings of this super luxe season—including an all-important Dolce & Gabbana finale—and scroll through for the best of the best looks.

Dolce & Gabbana is celebrating a decade of Alta Moda. Their larger-than-life couture offerings have taken them all over Italy, and they decamped to where it all began to celebrate: Sicily. The brand took over the Piazza Duomo in Siracusa to host a solemn, historic show where they reimagined several classic Italian motifs, from the gilded opulence of chapels to the lace and florals the brand has made their staple. The likes of Helen Mirren and Mariah Carey were front row for the religious processional and extensive show that demonstrates the brand's ability to honor and push forward Italian iconography. Here's to 10 more years.—Kevin LeBlanc, Fashion Associate

Shortly after the couture shows wrapped in Paris, Valentino decamped to Rome to show 'The Beginning' on the Spanish Steps. As fashion's greatest working colorist, creative director Pierpaolo Piccioli continues to experiment with color combinations and the modernization of couture. The duality of easy pants, tanks, and bodysuits paired with feathered headcaps and voluminous flowers perfectly embodied his vision for the modern woman (and man). A dizzying, grandiose statement of haute couture that honored the beginnings of the Italian brand that we're sure Mr. Valentino heartily approves of. —Kevin LeBlanc, Fashion Associate

To wrap things up in Paris, artistic director Kim Jones spliced and diced references from around the globe to create his freshest and lightest Fendi couture collection yet. From ancient Japanese techniques to Italian savoir-faire, no seam was left unconsidered and every detail was perfectly placed, down to the high jewelry by Delfina Delettrez Fendi. There was an ease not found in earlier seasons, from gorgeous printed sheaths to a series of simple colorblocked gowns that let the form do all the talking. Our favorite? The set of metallic dresses that instantly felt Gen Z-approved with world-class couture finishes. We can’t wait to see who wears them first.—Kevin LeBlanc, Fashion Associate

Precious Lee, pregnant bellies in moulded leather, North West doodling on show notes—Olivier Rousteing’s highly anticipated guest collection for Jean Paul Gaultier more than exceeded our expectations. In his trademark style, Rousteing showcased ample diversity on the runway, in color, size, shape, and age. Though dreamed up well in advance of SCOTUS overturning Roe v. Wade, two models clutching their bumps served as a timely reminder that women’s reproductive rights are under attack in the states, where many in the cast reside.—Claire Stern, Digital Deputy Editor

Leave it to Demna to shake up the couture week schedule, yet again. The creative director’s second couture collection for the storied house saw him taking on more vintage codes, as well as expanding on his bold, futuristic vision. The opening looks reimagined the wetsuit for the red carpet in skin-tight neoprene. T-shirts were finished in aluminum, suspending them in wrinkled purgatory. The last several pieces were gala-worthy dresses in a rainbow of colors, worn by the likes of (deep breath) Dua Lipa, Bella Hadid, Nicole Kidman, Christine Quinn (yes, of Selling Sunset fame), Naomi Campbell, and Kim Kardashian. Mega-watt stardom for a mega-watt couture show.—Kevin LeBlanc, Fashion Associate

Since 2014, Dutch designer Ronald van der Kemp has made his mark as the world’s first ethical couture brand, and he certainly delivered this season with sustainable luxury in the form of floor-grazing coats and knee-high denim boots, star-spangled jorts and cropped jackets, and plenty of power shoulders. These are pieces that stand to make an impact—on the environment and on the street—in the best way possible.—Claire Stern, Digital Deputy Editor

To celebrate her eponymous label’s 15th anniversary collection, Dutch designer and noted futurist Iris van Herpen looked to the classics—specifically, Ovid’s magnum opus poem Metamorphoses. Cleverly dubbed “Meta Morphism,” the looks examine “the ancient visions of Ovid’s mythology through modern themes of transhumanism, where man and technology exist in eternal fluctuation, allowing us to question who we are beyond our physical bodies,” according to the brand’s Instagram. Sartorial translation: 3D-printed embellishments, laser-cut halos, and upcycled translucent poly-silk. Model Winnie Harlow (pictured here) sauntered down the runway in the titular Meta Morphism coat, featuring embroidered ribbons depicting interlocking, shapeshifting faces, reminiscent of a frozen, glitchy computer screen. We’ve all been there on Zoom.—Claire Stern, Digital Deputy Editor

From the moment Akon opened Alexandre Vauthier in a stunning black party dress that moved seductively with each step, you knew his show was going to be good. The French designer has been known to stun guests (which included Karen Elson, Julia Fox, and Miss Fame in the front row this go-around) with his luxe and forward-thinking designs, and this season was no different. What else could you expect by someone who trained with Thierry Mugler and Jean Paul Gaultier?—Claire Stern, Digital Deputy Editor

Creative director Daniel Roseberry is excited to create fashion, simply for fashion’s sake. The designer has made waves since taking the helm at Schiaparelli, creating modern couture that is both extremely intricate and also contemporary⁠—a significant task for any couturier. The AW22 show drew on archival pieces from the house, along with a mix of ’80s decadence and ’90s hits reminiscent of Christian Lacroix (see: expertly draped and ruched taffeta). Beautifully realized floral bouquets made of colored stones and metal leaves blossom from corsets and shoulder details. In regards to creating the collection, Roseberry responds to the trite criticism that fashion is frivolous and unnecessary: “[W]hat’s wrong with wanting to make beautiful things? It’s not the only important part of life, of course, but it is a part of life. And to make truly beautiful things isn’t actually that easy. But it is a privilege—and I’m grateful for it every day.” Amen.—Kevin LeBlanc, Fashion Associate

This season at Chanel, creative director Virginie Viard continued her dialogue with the past and present of the historic brand. Specifically, she looked at the ’30s mode of dressing that Coco Chanel herself envisioned for the then-modern woman, at once effortless and intricate. Rounded shoulders and sleek, long dresses serve as the perfect match for the ’70s-era graphic décor that Karl Lagerfeld also explored during his tenure at the brand. Cowboy boots dress down complex embroidery and the Chanel bride wore a simple strapless pleated dress, topped with a crochet shawl, thereby making western chic haute couture. As Viard succinctly puts it, “The clothes remain light, feminine, designed to be worn. I can’t see myself doing it any other way.”—Kevin LeBlanc, Fashion Associate

The Dior woman is first and foremost a worldly woman, one who delights in beauty and also bravery, determination, and courage. The house’s latest show, dreamed up by creative director Maria Grazia Chiuri, was largely inspired by Ukrainian artist Olesia Trofymenko, who designed the set. The piece she created for the show, “The Flow,” considers nature as an irreplaceable part of human life. Chiuri called upon the Chanakya School of Craft in Mumbai to create intricate renderings of Trofymenko’s work using centuries-old savoir-faire. The institution gives women autonomy in India, allowing them to work in a profession usually reserved for men. The end result? A wardrobe of easy yet undeniably couture dresses, coats, and frocks that are as beautiful as they are deeply tied to freedom and nature.—Kevin LeBlanc, Fashion Associate

Giambattista Valli is ready to party. He’s celebrating a decade as a couturier presenting in Paris, and as an Italian designer, that’s definitely something worth honoring. The first half the show was chock-full of looks worthy of Cher in her heyday (think: party-ready flouncy silhouettes, feathers, and shine). Then, Valli explored his infamous command of tulle with larger-than-life gowns that command attention, and then some. Here’s to 10 more years of endless tulle and occasions to wear it.—Kevin LeBlanc, Fashion Associate

Charles de Vilmorin is back for his fourth couture collection, titled “Alienic.” With it, the designer draws our collection attention toward extraterrestrial, mystical creatures that appear on voluminous pants, skirts, and gowns. His inherent eye for color takes shape in striped dresses with extravagant collars and ruffles, infusing the staid couture schedule with otherworldly opulence.—Kevin LeBlanc, Fashion Associate