Billed as the “fashion week of the century”, this season of shows and presentations was rich in debuts across the major luxury houses. Having brought you these moments, FashionNetwork.com wanted the buyers’ perspective on this special moment. Today, Maud Pupato, purchasing director for fashion – women’s luxury, accessories and footwear at the Parisian department store Printemps, shares her views on this season like no other.

FashionNetwork.com: What do you consider to be the most successful artistic director debuts or new creative directions of the season?

Maud Pupato: This season has been so rich in new creative director debuts at historic houses that it’s hard to choose. I think two important changes were made by Jonathan Anderson at Dior and Mathieu Blazy at Chanel. Beyond fresh interpretations of each house’s codes, both signal a new era for their maisons. At Dior, we see the birth of a modern, poetic silhouette. At Chanel, an elegant, passionate woman emerges. The debuts of Louise Trotter at Bottega Veneta, Jack and Lazaro (McCollough and Hernandez, ed.) at Loewe and Pierpaolo (Piccioli, ed.) at Balenciaga are also worthy of note.

FNW: What do you see as the pieces with immediate commercial potential?

MP: I think the stand-out products include Chanel’s two-tone shoes, Dior’s new quilted bag, and Chanel’s necklaces — not just the long styles, but also chokers — as well as Dior’s fitted coats. We also liked Margiela’s shirts and jackets, Balenciaga’s new Paris 7 bag and leather jackets, and at Bottega Veneta the leather coats and collars.

FNW: What are the major trends that emerged from fashion month as a whole, and which will structure your buying strategy?

MP: I think sophistication is very important this season. The cuts are feminine and fitted. There is a real embodiment of beauty, an intention to emphasise the body, make it elegant, and own it. Movement matters, especially in skirts and dresses. Heels are higher.

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We also see the silhouette of a free, modern woman across many brands, including Alaïa, Chanel, Prada, Bottega Veneta, Celine and Balenciaga.

Overall, feminine codes are being emphasised and are evolving. The use of lingerie, lace and transparency is more subtle, more intimate and at the same time very assertive at Victoria Beckham, Dries Van Noten and Margiela. The play of textures and relief is a key element across the collections. Mixtures of materials, the use of new techniques, deconstruction–reconstruction, accumulation and layering… the collections have dimension. Even in monochrome white or black, the garment feels alive, almost organic. This is particularly evident in the work of Margiela, Pauline Dujancourt, Hodakova, Rescha and Miu Miu. Workwear also embodies this trend, with Miu Miu at the forefront.

Calvin Klein, Rick Owens and Saint Laurent

FNW: Which three shows stood out the most for you?

MP: In my opinion, Calvin Klein in New York was an important show, not only because it was the highlight of NYFW, but also because Veronica Leoni sets out her silhouette and cements her design codes. The collection is sublime and the cuts impeccable.

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In Paris, Rick Owens was the show that moved me the most. The set, the music, the gradient of beige created an almost post-apocalyptic atmosphere and, at the same time, a message of sovereign love from a genius designer.

Finally, Saint Laurent presented a modern collection that I find one of the most accomplished in terms of vision, using more technical materials on unexpected cuts: nylon ruffled dresses and colours that are both autumnal and vibrant. The jewellery seals this dramatic, almost sacred effect, blended with a strong futurism that preserves the house’s glamour while projecting it further.

FNW: Beyond the garment, which catwalk universe or activation was the most impactful and could be translated into a strong in-store expression?

MP: Gauchère’s performance is, in my view, the most interesting, both in terms of experience and message. With this short ballet created in collaboration with Benjamin Millepied, the brand gives life to the garment and imbues it with new energy — true living poetry. The blend of culture, movement and material is a unique gesture this Fashion Week.

FNW: Among the independent brands and young designers, which proposals stood out for their ability to marry creative audacity with market potential?

MP: This season is inspiring not only because of the new creative directors in the historic houses, but also thanks to the emergence of new designers with propositions that go further than usual.

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In my opinion, Pauline Dujancourt is one of the most promising designers of the moment, with unique creations interweaving knitwear and silk — a recognisable signature carrying a message of striking beauty. I also have a soft spot for Bonnetje, seen in Copenhagen. The technique of deconstructing and reconstructing pieces from existing tailoring is both a true technical feat and a powerful visual expression, with a genuine commitment to sustainability.

I can also see that Rescha continues on a strong trajectory with an ever-expanding collection. The designer is clearly evolving her vision through her materials and cuts — a nod to her origins that makes us want to discover and embody them.

FNW: In terms of products, what are the key pieces that you see as the season’s new sales drivers?

MP: There is significant focus on jackets: tailored suits in structured, fitted, feminine cuts, as at Alaïa and Celine; in lighter materials adapted for summer, as at Victoria Beckham; or reconstructed and textured, as at Margiela or Bonnetje.

Leather jackets also come in more creative shapes and colours. Leather is one of the season’s most important trends. There’s also a focus on footwear, with strong, creative pieces as well as casual flats and ballet sneakers.

A return to the dress, long set aside in favour of trouser suits or Bermuda shorts, is underway — longer, more sensual, almost ethereal yet empowered at the same time.

FNW: What materials, textures and colour palettes will most energise the offer and create desire among customers?

MP: This summer there is a return to optimism with fewer dark collections, less black. The colour palette remains fairly neutral overall, with lots of browns, beiges, black and white.

And it is also enlivened by almost autumnal colours — rust, khaki, mustard yellow — as perfectly illustrated by Bottega Veneta and Saint Laurent.

There are also brighter, bolder touches such as red at Chanel, yellow at Loewe, green at Dior and pink at Balenciaga.

Textures are very important and varied. They emphasise softness and vulnerability, and give a rawer effect.

In both cases, the aim is to bring dimension and power to the garment: a mark of quality and distinctiveness for pieces that twist the essentials through this medium.

FNW: When it comes to accessories, do you see a strong trend emerging? Which segment will be the most buoyant for the coming season?

MP: Jewellery has been emphasised and finely worked: from ‘statement’ earrings at Valentino, Balenciaga and Saint Laurent, to imposing necklaces at Givenchy or Chanel.

I can see that shoes and jewellery are the accessories of the season. They complete silhouettes and are bought in multiples. They are even becoming central, more than mere accessories. The two go together to affirm this new femininity that is both delicate and strong: a free, ornamented woman who has fun.

In addition, new bags and desirable shapes are emerging, notably from Dior, Chanel and Balenciaga.

Scarves and bandanas are also very important, either layered or attached to garments, as at Miu Miu, for example. We also like the minimalism of a black-and-white logo square like Loulou de Saison’s, which can be worn at the waist, around the neck, on the head, or even to wrap a bouquet, as Chloé Harrouche did during her presentation, in collaboration with the talented florist Aïdan Marcotte.