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Last day: suspicions confirmed. This season, pink flamingos, corals, feathers and computers are haunting designers. Classic elegance<\/strong> becomes their obsession. A remedy consisting of taffeta, satin drapes and silk coats. In the front rows of this show, seated in Louis XVI armchairs, a mix of aristocrats and stars witness the advent of a new order. Nothing is predictable or controllable anymore: whether it’s digital, investors, buyers, or the uncertain profits reaped by influencers we no longer know what to do with<\/em>. To stand out from the crowd, haute-couture reiterates its glory days, its Callas, Audrey Hepburns<\/em> and Grace Kellys<\/em>. Is the new society based on the myths of the old? Not so simple<\/strong><\/em>: the historic<\/strong> houses ( Dior, Chanel, Armani Priv\u00e9<\/strong>…) are the conservators of institutional elegance. At the front, we find “eccentric creatives”<\/em> such as Galliano for Maison Margiela <\/strong>or Viktor &Rolf<\/strong>, who support the discourse that haute-couture is an art<\/em>. And the staging of Guoi Pei and Margiela cleverly demonstrates this. For the final day, all this order is condensed into a film. A manifesto that begins with Maison Margiela <\/strong>and concludes with Valentino’s swan song. Is haute-couture dying in one last grand gesture?<\/em> This sweet mythical fiction serves to lay the foundations for a new couture system. This week wasn’t just a nostalgic return to the 20s and 50s: it was a return to the moment when social classes deepened, gender and sex stereotypes were born and the nuclear family model solidified. A return to the past that tells us how conservative our present is<\/strong>. Is it on these retrograde foundations that haute-couture is renewing itself? <\/p>\n\n\t\t