Highlights from Tamara Ralph's show.

Couture Week always feels like stepping into a dream – and this season was no exception. There’s something about seeing that level of artistry up close that reminds you why fashion still has the power to move people.

Georges Hobeika had to be my personal highlight this season - the collection was ethereal, romantic, and genuinely breathtaking. One look in particular stopped me in my tracks: a blush pink gown with flowing, weightless fabric that shimmered as it moved, paired with a bold, V-shaped waistline detail that felt somewhere between medieval warrior and modern-day superwoman. It was the perfect blend of strength and softness - and I’ll be manifesting a reason to wear it for years to come.
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Tamara Ralph’s show brought a different kind of elegance: clean, sculptural silhouettes, metallics, contrasted with extravagant feather detailing and intricate embellishments that felt both elevated and effortless. Her shows are always so sharp and there’s a confidence to her work that always feels modern and relevant.Then came Schiaparelli, and I’ll be honest - the absence of gold was a surprise. But what it lacked in glitz, it made up for in sharp gothic tailoring and brilliant archival references. It was thoughtful, sculptural, and intelligent - a quiet but powerful shift in tone. I can’t wait to dive deeper into those house codes when the Schiaparelli exhibition opens at the V&A this March.
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Stéphane Rolland brought high drama in the most refined way - sweeping silhouettes, crystal-encrusted headpieces and sculptural gowns that owned the stage at the Théâtre des Champs-Élysées. And Yara Shoemaker proved her place on the couture schedule, with heavy, intricate gowns - some of which took over 1,500 hours to make - that looked like they’d been pulled straight from a dream.

Couture Week is always full of inspiration - and a reminder of just how personal fashion becomes at this level.