Bridget Foley’s Diary: Couture’s Grand Intimacy

Haute couture is fashion’s most grand subgenre — the most extravagant, demonstrative, luxurious, sky’s-the-limit world in which all is possible. It’s also fashion’s most intimate arena, every dress built, every flower crafted, every embroidery executed first for the runway, and then for one individual client, by highly skilled artisans who take deep pride in and feel personal ownership of their work. That juxtaposition at the heart of couture felt in particularly high relief this season as, for whatever reasons, designers chose to manifest the intimacy in quite specific ways. It made for a strong and often poignant season. There was no question that this fall season would feel different — the first one since forever without Karl Lagerfeld at the helm at Chanel. For as long as almost everyone in the audience has been attending couture, Lagerfeld’s Chanel was an essential anchor. For some of us, his show followed a revered ritual, the “Chanel preview,” during which Lagerfeld would multitask brilliantly, hosting and gossiping, offering iPad peeks at his set and deflecting collection-specific queries to Amanda Harlech while simultaneously conducting fittings, signing off on the final touches of each look — hat or no hat, the length of a glove, the

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