Hubbry Logo
Paris Fashion WeekParis Fashion WeekMain
Open search
Paris Fashion Week
Community hub
Paris Fashion Week
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Paris Fashion Week
Paris Fashion Week
Paris Fashion Week
View on Wikipedia
from Wikipedia
Paris Fashion Week
Magdalena Frackowiak in Elie Saab at Paris Fashion Week F/W 2011
GenreClothing and fashion exhibitions
DatesSpring and fall
FrequencySemi annual
LocationsParis, France
InauguratedOctober 1–9, 1973
Organised byFédération de la Haute Couture et de la Mode
WebsiteOfficial website

Paris Fashion Week (French: Semaine de la mode de Paris, commonly [la] Fashion Week) is a series of designer presentations held semi-annually in Paris, France, with spring/summer and autumn/winter events held each year. Dates are determined by the Fédération de la Haute Couture et de la Mode. Paris Fashion Week is held at venues throughout the city.[1] It is one of the "Big Four" fashion weeks alongside New York, Milan, and London.

In addition to ready-to-wear shows, there are men's and haute couture shows; these are held semiannually for the spring/summer and autumn/winter seasons.[2] The haute couture collections are always presented and exhibited before the ready-to-wear collections, with there being a total of a little over 100 collections each season.[3] Also, every year, famous brands like Dior, Chanel, Louis Vuitton, Kenzo, Givenchy, and Céline host their shows in historical places such as the Carrousel du Louvre and the Grand Palais.[4][5]

Paris Fashion Week criteria

[edit]

In order to participate, the houses must fulfill the criteria that are set in place by the Chambre Syndicale de la Haute Couture, such as a requirement of 35 looks per year that need to include day and evening wear. Only a few houses are able to fulfill this requirement; therefore, this leaves few to participate in haute couture fashion shows.[6] Since there are only a few spots left for those to participate, there are the well-known high-end fashion brands like Chanel and Alexander Mcqueen, but also the lesser-known ones like Maxime Simöens and Eymele Burgaud.[7]

The Big 4

[edit]

Paris Fashion Week[8] is part of the global "Big 4" fashion weeks, the others being London Fashion Week, Milan Fashion Week and New York Fashion Week.[9][10] The schedule begins with New York, followed by London, and then Milan and ends in Paris. New York was the first city to hold a "fashion week".[11]

Origins

[edit]

Although the first fashion week was held in New York, the event itself derives from "salon shows" ("défilés de mode" in French, literally "fashion parades") in Paris couture salons.[12]

A fashion week consists of a week of organized events of multiple designer's collections. Before this organized event was recognized in New York City, fashion showings were being held in Paris as early as the 1700s. Some earlier showings were presented on mannequins, which made it difficult for clients to see fashion pieces fully since the mannequin didn't have the same mobility a model did. These early showings were only to clients purchasing items and were shown on mannequins.[13] In the 1800s, showings began to change. Charles Frederick Worth, noted for haute couture, began showing multiple pieces together and of a higher design. These designs were showcased to get the customer's attention in buying the pieces. Jeanne Paquin is the first designer to make her showings public and Paul Poiret is the first to host parties after his events.[14]

In the mid 1800s, Mme Pauline von Metternich,[15] an Austrian Princess and wife to the Ambassador of Paris, saw one of Worth's sketches and employed him to make her a gown. He gained much recognition through his powerful clients and opened his own haute couture house in Paris in 1858, which sold luxury fashion to upper-class women.

Chambre Syndicale de la Haute Couture

[edit]

In 1868 the Chambre Syndicale de la Haute Couture was created to set the specifications to determine what constituted a 'couture house'.[16] The group decided that to be defined a piece of haute couture the clothing must have been; custom-made to fit the wearer, hand-sewn by multiple skilled artisans in the separate fields of embroidery, stitching, and beading, and only the most high quality of materials may be used.[16]

L’Association de Protection des Industries Artistiques Saisonnières

[edit]

In 1921, fifty-three years after the Chambre Syndicale de la Haute Couture was created, the French press created L’Association de Protection des Industries Artistiques Saisonnieres,[17] or PAIS to protect couture designs from being copied.[16] To ensure the copyright of the designers, their creations were photographed on a model or mannequin from the front, back, and sides to catalog the design.

The first Paris Fashion Week

[edit]

In 1945, the Chambre Syndicale de la Haute Couture established another set of rules to regulate and determine Haute Couture houses.[18] In order to meet the criteria, the house had to ensure they followed the updated rules with one of them being that in each season, a couture house must present a collection of at least 35 runs with both daytime and evening wear to the Paris press.[18] Others included having at least 20 members on staff, and that every design must include fittings and be made-to-order for the clientele.[18] The following biannual events of Haute Couture houses in accordance with the new guidelines set by the Chambre Syndicale de la Haute Couture have been seen as the first pair of fashion weeks in Paris.

First fashion week under the Fédération Française de la Couture

[edit]

The first recognized Paris Fashion Week was held in October 1973 and organized Haute Couture, Ready-to-Wear, and Men's Fashion into one grouped showing by the Fédération Française de la Couture.[19]

The event was a fundraiser held at the Palace of Versailles to restore the palace. The amount aimed to reach to repair the palace was estimated at US$60 million which converts to 53,026,956 Euros.[20] The fundraiser was started because the French government had stated they could not handle the cost of the renovations. It was overseen by the founder of New York Press Week, now known as New York Fashion Week, Eleanor Lambert, in accordance with, the at the time Versailles curator, Gérald Van der Kemp.[14] The restorations and renovations included Marie Antoinette's dressing room, Louis XV's children's play room, and a staircase which began construction in 1722 but was never finished.[20]

Both American and Parisian designers attended the event including; Anne Klein, Bill Blass, Stephen Burrows, Oscar de la Renta, Hubert de Givenchy, and Yves Saint Laurent.[20] The French designers each held their own showing set to various themes whose pieces included; a rocket ship, pumpkin coach and a rhinoceros pulling a gypsy caravan.

The American designers, due to errors in measurement conversion, collectively held one showing under the common theme of Paris using both white and African-American models.[20] The American designers' use of diversity in models marked the event as the first time African-American models had walked a French runway.[20]

The event gained much publicity because of the designers involved and is given the nickname "The Battle of Versailles" because of its location and the tension between the American and Parisian designers during the run of the show.[20]

Rules of Paris Fashion Show

[edit]

Size-zero ban

[edit]

According to French law Fashion Week does not allow models of a body mass index size zero to attend.[21][22] The purpose of this ban is to deter models from trying to attain an unhealthy beauty standard and in turn promoting it to the public. Nutritionist and dietetics warn individuals about this dangerous fashion trend as it creates a higher increase of eating disorders in younger individuals, ranging from 14-18 years old.[23] However, the term "size-zero" was not created by Fashion Week, but those in the Hollywood film industry in the 1990s. Most seeking to get into the fashion world confuse the size 0 law as a law that does not allow models in a size 0 to walk in shows.[citation needed]

Age limits

[edit]

Paris Fashion Week prohibits models under 18 years of age. After steps taken by luxury brands like LVMH and Kering, it is stated that "No model under 16 years will be recruited to take part in fashion shows or photographic sessions representing adults."[24]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Paris Fashion Week

View on Grokipedia
from Grokipedia
Paris Fashion Week is a biannual series of designer runway shows and presentations held in , , showcasing prêt-à-porter collections for the spring/summer and autumn/winter seasons, organized by the Fédération de la et de la Mode (FHCM). The event features established luxury houses alongside emerging talents, with official calendars including up to 76 runway shows and 36 presentations in recent seasons, such as the womenswear spring/summer 2026 edition from September 29 to October 7, 2025. The FHCM, founded in 1868 as the Chambre Syndicale de la Couture to regulate and promote French couture amid rising competition from imitators, evolved to encompass ready-to-wear by establishing Paris Fashion Week in 1973, building on Paris's historical role as the global fashion epicenter since the mid-19th century innovations of designers like Charles Frederick Worth. This formalized structure followed pivotal moments like the 1973 Battle of Versailles charity event, which highlighted American designers but underscored French dominance in high fashion. As one of the "Big Four" fashion weeks—alongside New York, London, and Milan—Paris Fashion Week sets seasonal trends through its concentration of heritage brands such as Chanel, Dior, and Louis Vuitton, influencing retail, manufacturing, and consumer behavior worldwide. The event drives substantial economic activity, contributing to France's fashion sector that sustains over 600,000 jobs through , , and production spending during the week, while reinforcing Paris's status as a cultural and commercial hub amid challenges like digital shifts and pressures. Controversies have included debates over exclusivity and , with critiques of high production costs and limited public engagement, though the FHCM emphasizes its role in fostering innovation and for member brands.

Historical Development

Origins in 19th-Century Haute Couture

The foundations of what would evolve into Fashion Week trace back to the mid-19th century, when , an English-born designer, established the first house in in 1858 at 7 rue de la Paix. Worth's firm shifted fashion from bespoke tailoring toward systematic production of high-quality, made-to-measure garments using luxurious fabrics and intricate techniques, catering to elite clientele including Empress Eugénie, consort of , whose patronage from the 1860s elevated the house's international prestige. This model emphasized originality, craftsmanship, and exclusivity, distinguishing from mass-produced apparel and positioning as the epicenter of luxury fashion during the Second Empire (1852–1870). Worth introduced key practices that prefigured modern fashion presentations, including seasonal collections unveiled twice yearly to anticipate client needs and trends. By the 1870s, he pioneered showing designs on live models—known as mannequins vivants—in private salons, allowing affluent buyers to view garments in motion rather than static on dress forms, which enhanced sales and disseminated Parisian styles globally through copies and orders. These intimate exhibitions, often held in opulent settings, attracted international and influencers, fostering Paris's reputation for dictating elite taste and spawning imitators across and America. In 1868, the Chambre Syndicale de la Couture was formed under influences including Worth, as an association to safeguard couturiers' interests against copying and regulate practices amid growing competition. This early institutional framework standardized seasonal unveilings and quality benchmarks, solidifying the ritual of collective presentations in and laying the groundwork for the organized, synchronized events that characterized later fashion weeks. By the late , houses like Worth's had transformed into a spectacle-driven industry, where Paris's couture dominance relied on verifiable innovation and client-facing demonstrations rather than mere fabrication.

Early 20th-Century Institutionalization

The Chambre Syndicale de la Haute Couture Parisienne, originally established as the Chambre Syndicale de la Couture in 1868 to represent dressmakers' interests, underwent reorganization in 1910–1911 to specifically govern practices amid growing international competition from imitators in and New York. This shift formalized standards for authentic , requiring member houses to produce custom-fitted garments using premium fabrics, employ skilled artisans, and present minimum collections—typically 35 day outfits and 15 evening ensembles twice annually—to maintain exclusivity and . The syndicate's statutes emphasized protection against unauthorized copying, mandating that designs be shown only to verified buyers and press under controlled conditions, thereby institutionalizing Paris's dominance in luxury fashion dissemination. Under this framework, the Chambre Syndicale coordinated the first structured collective presentations of seasonal collections in the early , moving beyond individual salon demonstrations to synchronized events that attracted global wholesalers and journalists. These gatherings, held primarily in couture house ateliers or rented venues like the Hôtel de Ville, featured live model parades—termed mannequins—showcasing innovations from houses such as Paquin and Poiret, with Poiret's 1911 "Thousand and Second Night" spectacle exemplifying the theatricality that became standard. By regulating participation and schedules, the organization mitigated chaotic overlaps in show timings, fostering a proto-calendar system that prioritized Paris's seasonal rhythm over ad-hoc displays, even as disrupted operations from 1914 to 1918. This institutionalization reinforced causal links between regulated exclusivity and economic value, as syndicate-enforced —such as no photography until post-presentation—preserved originality and compelled buyers to travel to , generating revenue through direct orders rather than mass reproductions. Archival records indicate membership grew to over 50 houses by the mid-1920s, with the body also mediating labor disputes and quality disputes, ensuring haute couture's artisanal integrity against emerging threats. Despite biases in contemporary accounts favoring Parisian centrality—often overlooking provincial influences—the syndicate's verifiable role in standardizing presentations laid groundwork for modern fashion weeks, prioritizing empirical trade protections over speculative trends.

Post-World War II Revival and Formalization

Following the in August 1944, presentations resumed amid economic hardship and material shortages, with the first post-war collections appearing in 1946 and foreshadowing a shift away from wartime . The Chambre Syndicale de la Haute Couture, seeking to standardize practices and reestablish Paris's preeminence against emerging competitors like —which originated in 1943 as a wartime alternative—issued regulations in 1945 mandating that member houses present at least 35 day and 35 evening outfits per season, along with original designs made-to-order in Paris ateliers employing a minimum number of workers. These rules aimed to ensure quality and exclusivity, distinguishing genuine from . A pivotal moment came on February 12, 1947, when unveiled his "New Look" collection at 30 , featuring cinched waists, padded shoulders, and voluminous skirts requiring up to 20 yards of fabric per garment—contrasting sharply with the fabric-rationed, utilitarian styles of the war years. Dubbed the "New Look" by journalist of , the designs evoked pre-war and opulence, boosting exports and restoring Paris's global allure despite initial backlash in , where fabric scarcity led to public attacks on models wearing the extravagant ensembles. Dior's success, generating immediate orders worth millions, underscored fashion's role in 's economic recovery, with the house employing over 2,000 workers by 1950 and influencing international trends. That same year, on January 23, 1945, the Chambre Syndicale formalized "" as a legally , enforceable only for Paris-based houses meeting criteria such as custom-fitted garments, hand-executed techniques, and innovative seasonal collections presented twice yearly. This codification, building on the organization's 1868 founding, reinforced barriers to entry, preserving artisanal standards amid post-war industrialization pressures and ensuring 's couture calendar—centered on venues like the Hôtel Ritz and Cirque d'Hiver—remained a synchronized, invitation-only series of shows for elite buyers and press. By the early , these structures had solidified as the epicenter of luxury fashion, with annual shows drawing international press and fueling a revival that saw couture revenues rebound despite ongoing until 1949.

Transition to Contemporary Ready-to-Wear Focus

In the mid-1960s, the dominance of Paris fashion began eroding as economic pressures and changing consumer demands favored accessible clothing over bespoke designs. Yves Saint Laurent pioneered this shift by launching his boutique in 1966, offering collections that democratized high fashion for a broader audience, including his iconic tuxedo adapted for everyday wear. This move reflected a causal response to post-war industrialization and youth-driven markets, where mass-produced garments enabled scalability and profitability absent in labor-intensive couture. The formal institutionalization of ready-to-wear occurred in 1973 with the inaugural Paris Fashion Week under the Fédération Française de la Couture, which integrated shows alongside to sustain Paris's global influence amid competition from emerging ready-to-wear hubs like New York. This event, opening with the Battle of Versailles on November 28, 1973—a fundraiser pitting French couture against American —underscored the viability of prêt-à-porter, as U.S. designers like demonstrated efficient, trend-setting presentations that captivated audiences and buyers. By blending couture prestige with ready-to-wear's commercial appeal, Paris averted decline, with designers such as Kenzo and further embedding prêt-à-porter in the 1970s through innovative, street-influenced lines. This transition solidified by the 1980s, as prêt-à-porter eclipsed couture in volume and revenue, comprising the bulk of biannual Paris Fashion Week schedules—typically 80-100 shows per season—while haute couture persisted as a niche, symbolic counterpart. The Fédération's criteria evolved to prioritize ready-to-wear's production standards, fostering a ecosystem where brands like and expanded into mass-market lines without diluting artisanal heritage. Empirical data from industry reports indicate prêt-à-porter generated over 90% of Paris fashion exports by the 1990s, validating the pivot as a pragmatic adaptation to global retail dynamics rather than mere trend-following.

Organizational Framework

Fédération de la Haute Couture et de la Mode

The Fédération de la Haute Couture et de la Mode (FHCM) serves as the principal governing body for the French fashion industry, encompassing , , and accessory sectors. Established on October 8, 1973, as the Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode, it unified various syndicates to represent and promote interests globally. In 2017, it adopted its current name to reflect an expanded focus on alongside broader mode activities. The organization represents more than 100 French, European, and international brands, coordinating their participation in major events while advocating for regulatory protections and industry standards. FHCM's governance includes a president—currently Bruno Pavlovsky, elected in 2022—and an executive president, Pascal Morand, who oversee strategic direction. Specialized commissions address legal affairs, social issues, training, innovation, , and the Chambre Syndicale de la Couture Parisienne, which certifies official houses (typically 15-20 members meeting strict criteria like production in ateliers). These bodies facilitate with French and European authorities on matters such as environmental regulations (e.g., AGEC law in 2020 and Climate and Resilience law in 2021) and safeguards. In relation to Paris Fashion Week, FHCM organizes the official seasonal calendars for both prêt-à-porter and presentations, ensuring structured scheduling across venues like the and . It curates adjacent activities, including digital showrooms and international outreach, to maintain Paris's status as the global . Through initiatives like , launched to support emerging brands, FHCM provides visibility platforms such as dedicated showrooms backed by partners including DEFI and Paris, aiding approximately 80 non-member designers with funding and logistical support established in 2020. Additionally, FHCM co-founded the European Fashion Alliance in 2022 to address pan-European challenges like and , positioning within broader continental frameworks.

Predecessor Organizations

The origins of organized Paris fashion presentations trace to the Chambre Syndicale de la Couture, des Confectionneurs et des Tailleurs pour Dame, founded in as an employers' association to regulate , protect from copyists, and promote Parisian couturiers collectively against competition. This body established standards for craftsmanship and organized early exclusive shows to control access, maintain prestige, and influence global trends, functioning as a gatekeeper for the industry. Renamed the Chambre Syndicale de la Couture Parisienne on December 14, 1910, it focused on high-end creativity amid interwar expansion, with membership reaching 140 firms by 1939 despite economic pressures like the Great Depression. Post-World War II, on January 23, 1945, it became the Chambre Syndicale de la Haute Couture following the French government's creation of the protected "Haute Couture" appellation, tasked with annual approval of qualifying houses under the Ministry of Industry to enforce rigorous production and presentation criteria. As gained prominence, the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode and Chambre Syndicale de la Mode Masculine were both founded on October 8, 1973, to represent designers in these segments while linking to couture traditions. These entities coordinated seasonal collections and shows, addressing enforcement and industry lobbying, but operated separately until unified that year into the Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode, which formalized integrated events precursor to modern Paris Fashion Week.

Membership and Participation Criteria

Membership in the Fédération de la Haute Couture et de la Mode (FHCM) governs participation in Paris Fashion Week's official calendar, distinguishing between and prêt-à-porter () segments. The FHCM's Committee accredits houses meeting rigorous craftsmanship standards, while its Womenswear and Menswear Committees oversee prêt-à-porter inclusions, which emphasize commercial viability over production. Official participation requires FHCM approval to ensure alignment with event protocols, though off-calendar shows allow broader access without full membership. Haute Couture membership demands an in employing at least 15 full-time staff, with one specialized workshop maintaining no fewer than 20 full-time technical employees focused on handcrafting. Collections must consist of made-to-order garments for private clients, involving multiple fittings, and be presented twice annually during FHCM-designated dates in . Full membership follows repeated invitations as a , typically after four seasons, verifying sustained adherence to these criteria; correspondent or guest status extends to select international designers without a base. Non-compliance risks revocation, as the term "" is legally protected under law. Prêt-à-porter participation is less restrictive, requiring a registered fashion business operational for at least two years and the of seasonal collections (Spring/Summer and Fall/Winter). Brands apply directly to the FHCM or via accredited producers for calendar placement, with selection prioritizing established market presence and production capacity over artisanal mandates. Emerging labels may gain guest status if they demonstrate turnover under 5 million euros and recent establishment, fostering innovation within the federation's framework. International participants often enter as correspondent members, enabling or access without full syndication.

Event Format and Operations

Distinction Between Haute Couture and Prêt-à-Porter

Haute couture denotes custom-made garments crafted by hand in ateliers using premium materials and traditional techniques, designed and fitted individually for private clients through multiple sessions to ensure precise tailoring. Houses seeking official recognition from the Fédération de la Haute Couture et de la Mode (FHCM) must maintain a Paris-based atelier employing at least 15 full-time staff, with at least one workshop featuring 20 full-time technical employees dedicated to haute couture production; collections must comprise a minimum of 35 distinct daytime and evening ensembles, each unique and presented biannually. This process prioritizes artisanal expertise and exclusivity, often resulting in pieces that serve as prototypes for innovation rather than immediate mass sales, with production limited to small runs or one-offs to preserve rarity. Prêt-à-porter, translating to "," encompasses high-end clothing lines manufactured in standardized sizes via factory processes for off-the-rack purchase, enabling wider accessibility and commercial scalability without alterations. Unlike , prêt-à-porter lacks FHCM-mandated craftsmanship thresholds, allowing brands to produce larger volumes—often thousands of units per style—for seasonal retail distribution through boutiques and department stores. This category emphasizes trend-driven designs adaptable to market demands, with production efficiencies that reduce costs compared to couture's labor-intensive methods. In Paris Fashion Week, the distinction manifests in segregated schedules and formats: haute couture presentations occur during dedicated weeks in mid-January and early July, highlighting theatrical runway displays of conceptual artistry for buyers and press, while prêt-à-porter events span late to early March and late September to early October (for women's collections), featuring over 90 shows per season focused on commercially viable lines for immediate ordering by retailers. Couture shows underscore technical mastery and cultural prestige, often with unwearable elements to inspire, whereas prêt-à-porter prioritizes wearable prototypes that translate directly to production lines, reflecting the economic divide where couture sustains heritage amid declining client bases, and prêt-à-porter drives through volume sales.
AspectHaute CouturePrêt-à-Porter
Production MethodHandcrafted in ateliers by skilled artisans; made-to-order with fittingsFactory-based in standard sizes for retail
ExclusivityUnique or limited pieces for individual clients; FHCM-regulated standardsBroader distribution; no requirements
Pricing$10,000 to over $500,000 per garment due to materials, labor, and rarity$500 to $10,000+ per item, scaled for market accessibility
PFW RoleBiannual innovation showcases (Jan/); emphasis on artistry and heritageSeasonal commercial previews (Feb/Mar, Sep/Oct); focus on sales potential

Seasonal Calendar and Key Venues

Paris Fashion Week's seasonal calendar encompasses four primary events annually, organized by the Fédération de la et de la Mode: womenswear Spring/Summer in late September to early October, womenswear Fall/Winter in late February to early March, menswear Spring/Summer in June, and menswear Fall/Winter in January. These dates align with the global fashion cycle to preview collections six months ahead of retail availability, allowing time for production and merchandising. weeks, distinct but concurrent in the Fédération's purview, occur twice yearly: Spring/Summer in mid-January and Fall/Winter in mid-July, each spanning about five days with 30-40 member presentations. For instance, the womenswear Fall/Winter 2026-2027 edition is scheduled from March 2 to 10, 2026, while menswear Fall/Winter 2026-2027 runs January 20 to 25, 2026. Each season's official lists 70-100 events, including runway shows, presentations, and showroom appointments, with schedules released months in advance via the Fédération's platform. The Spring/Summer 2026 womenswear week, held September 29 to October 7, 2025, featured 76 shows and 36 presentations, emphasizing digital access alongside physical attendance for industry professionals. Timings prioritize morning to evening slots, often starting at 9:00 or 10:00 a.m., to accommodate international travel and media coverage across Paris's time zone. Key venues for Paris Fashion Week span historic landmarks, temporary structures, and bespoke installations, selected for capacity, prestige, and logistical feasibility. The has historically hosted marquee events for houses like and , accommodating up to 2,000 guests with its expansive , though renovations since 2021 have shifted major productions to the adjacent Grand Palais Éphémère. The Palais de serves as a frequent hub for contemporary shows, offering 1,000-square-meter flexible spaces suitable for presentations. Other central locations include the for underground runway setups beneath the pyramid and the for open-air spectacles, leveraging Paris's monumental architecture to enhance brand narratives. While official Fédération events favor these public sites for visibility, many participants utilize private hotels, warehouses, or pop-up structures in districts like Le Marais or Champs-Élysées to control environments and attendee flow, with over 50% of shows in non-traditional venues per recent seasons. Security and sustainability protocols, including tracking, increasingly influence venue choices, prioritizing accessible central locales over peripheral ones.

Production and Presentation Standards

Haute couture production under Paris Fashion Week adheres to stringent criteria established by the Fédération de la Haute Couture et de la Mode (FHCM), requiring houses to maintain an in employing at least 15 full-time staff members, with one specialized workshop staffing no fewer than 20 technical personnel dedicated to handmade techniques. Garments must be custom-made for individual private clients using high-quality, often exclusive fabrics, with each piece crafted entirely by hand to ensure fit and artisanal excellence, distinguishing it from industrialized methods. Collections require a minimum of 35 distinct outfits, presented twice annually during the official couture weeks in January and July, emphasizing exclusivity over commercial volume. In contrast, prêt-à-porter () production prioritizes scalability for retail distribution, employing standardized sizing and a mix of machine and hand-finishing processes to enable while upholding design quality. These collections, shown during the main Paris Fashion Week seasons in September/October for spring/summer and February/March for autumn/winter, focus on wearable, off-the-rack apparel rather than one-of-a-kind customization, allowing broader market accessibility without the mandates of couture. Presentation standards for both categories mandate runway shows or equivalent demonstrations during FHCM-sanctioned events, typically held in controlled venues across to showcase collections to buyers, media, and clientele. Couture presentations emphasize technical virtuosity, with models displaying intricate detailing under professional lighting, while prêt-à-porter shows highlight commercial viability through dynamic staging; all official events must align with the FHCM calendar to maintain prestige. Recent FHCM guidelines, updated as of 2025, introduce ecoscenography standards comprising 75 criteria across themes like energy use and , enabling self-assessment for sustainable production and event practices without diluting core artisanal rigor.

Regulatory Measures

Model Age and Health Requirements

In 2017, enacted prohibiting models under 16 years of age from participating in shows or photographic shoots depicting adults, with the measure aimed at protecting minors from exploitative working conditions in the industry. Models aged 16 to 18 face additional restrictions, including bans on working between 11 p.m. and 6 a.m. and requirements for parental or guardian accompaniment during engagements. These rules apply to Paris Fashion Week events, organized under the Fédération de la et de la Mode, which enforces compliance as part of national labor standards for the sector. Complementing age limits, the same 2017 law mandates that all models provide a , valid for up to two years, verifying overall physical health and absence of severe thinness or eating disorders such as anorexia. Physicians assess fitness for work with particular attention to (BMI), where values below 18—indicating clinical status—are flagged as presumptive evidence of excessive thinness, though not an absolute cutoff. Non-compliance by employers carries penalties of fines up to €75,000 and up to six months' imprisonment, reflecting empirical links between sub-18 BMI levels and heightened risks of and disorders in young women. While some luxury conglomerates, such as , have voluntarily raised runway minimums to 18 years, French law sets the enforceable floor at 16, allowing participation with safeguards; has maintained alignment with this threshold. Enforcement relies on self-certification and spot checks, with critics noting inconsistent application amid international model sourcing, though the regime has correlated with reduced underage bookings at major shows since implementation. These requirements prioritize verifiable physiological thresholds over subjective aesthetics, grounded in medical consensus on BMI as a proxy for health risks despite its limitations in accounting for muscle mass or variations.

Bans on Extreme Thinness and Enforcement

In 2015, the French National Assembly passed legislation prohibiting the hiring of fashion models whose body mass index (BMI) falls below thresholds established by public health authorities, typically set at a minimum of 18 for adults, to address health risks associated with extreme thinness such as . The law mandates that models present a medical certificate from a licensed physician verifying their overall physical health, with BMI as a key metric calculated from weight divided by height squared, prior to participating in any professional activity, including runway shows during Paris Fashion Week. Enforcement applies directly to Paris Fashion Week, organized under the Fédération de la et de la Mode, where organizers and participating houses must verify compliance to avoid penalties, including fines up to 75,000 euros (approximately $81,000 USD at the time) and up to six months imprisonment for modeling agencies or designers found in violation. In the law's first year of implementation, local reports indicated that nearly one-third of models were excluded from catwalks due to failing BMI or health checks, demonstrating initial rigorous application during seasonal events. Despite these measures, circumvention attempts have been documented, such as models reportedly wearing weighted undergarments like loaded with metal objects to artificially inflate weight readings during on-site verifications at Paris Fashion Week shortly after the law's enactment in . The also extends to digital alterations, requiring retouched photographs in to be labeled "retouched " to prevent unrealistic body standards, though primary enforcement focuses on live events rather than media. advocates credit the policy with raising awareness of modeling industry pressures, but critics within fashion circles have argued that BMI alone overlooks factors like muscle mass and individual physiology, potentially leading to inconsistent outcomes without broader systemic changes.

Intellectual Property and Industry Protections

The term "" is a legally protected designation in under Decree No. 54-637 of May 12, 1954, administered by the Fédération de la Haute Couture et de la Mode (FHCM), requiring members to produce garments using high-quality materials, with at least 35 full-time employees in Paris ateliers and two seasonal collections presented during Paris Fashion Week. This framework preserves the exclusivity of haute couture presentations at Paris Fashion Week by limiting official status to qualifying houses, thereby safeguarding the embedded in custom designs against dilution by non-compliant imitators. French law provides layered protections for fashion elements showcased at Paris Fashion Week, including under Article L112-2 of the Intellectual Property Code for original creations such as seasonal , jewelry, and accessories, which courts have upheld against unauthorized reproductions. Trademarks protect brand identifiers like logos and house names via registration at the Institut National de la Propriété Industrielle (INPI), while registered designs cover the appearance of garments for up to 25 years, offering preemptive rights against copying. Fashion shows themselves, as choreographed events involving models, music, and staging, qualify for protection as audiovisual works, enabling organizers to pursue infringement claims for unauthorized filming or broadcasting beyond permitted press access. The FHCM actively advocates for IP enforcement on behalf of Paris Fashion Week participants, lobbying French and EU authorities to strengthen anti-counterfeiting measures, including customs seizures under the Autorisation de Fréquentation des Aires (AFA) procedure, which allows rights holders to detain suspected fakes at borders. In 2023, counterfeit apparel alone inflicted an estimated €1.7 billion in losses on French brands, prompting intensified raids and prosecutions tied to high-profile events like Paris Fashion Week to deter fast-fashion replication of runway designs. FHCM membership criteria further embed IP safeguards by mandating adherence to ethical production standards, reducing internal vulnerabilities to design theft among prêt-à-porter and accessory houses. Industry collaborations extend these protections, with FHCM partnering with entities like the Union des Industries Textiles (UIT) to monitor online marketplaces and pursue civil actions, though enforcement challenges persist due to the rapid production cycles of copyists in jurisdictions with lax IP regimes. Despite these efforts, functional aspects of garments remain unprotected under utility doctrines, compelling reliance on trade secrets for techniques like intricate , which houses guard through non-disclosure agreements during Paris Fashion Week preparations.

Economic and Societal Influence

Direct Economic Contributions to Paris and France

Paris Fashion Week attracts over 100,000 attendees annually, including international buyers, journalists, models, and celebrities, driving direct spending on accommodations, dining, transportation, and retail in . The Fédération de la Haute Couture et de la Mode estimates that the event generates approximately €1.2 billion in economic impact for the city each year, encompassing heightened demand for hotels—where occupancy rates reach 94% during peak periods—and local services. Tax-free shopping surges during the week, with average spends per shopper at €2,690 and ultra-high-net-worth individuals averaging €30,950, concentrated in and categories, bolstering immediate retail revenue. Production-related expenditures, including venue rentals, staffing for over 110 shows, and logistics, further contribute to short-term job creation in , , and sectors within . On a national scale, the six annual Paris fashion weeks—encompassing , menswear, and —collectively produce around €10 billion in revenue, as assessed by the Institut Français de la Mode, supporting France's luxury sector that accounts for roughly 2.5% of GDP through event-facilitated commercial orders and visibility. This direct influx aids in sustaining approximately 600,000 jobs in the broader French fashion industry, with temporary employment spikes tied to the weeks' operations.

Global Trendsetting and Commercial Ramifications

Paris Fashion Week establishes seasonal benchmarks that permeate global design practices, with trend forecasting firms processing thousands of looks to distill influences like draping techniques and material innovations adopted in subsequent international collections. For instance, the Spring/Summer 2026 edition featured 127 collections encompassing 4,422 looks and 7,075 items, elements of which cascade into ready-to-wear lines from Asia to the Americas via buyer adaptations and media dissemination. This trend propagation stems from Paris's entrenched prestige among luxury houses, where presentations by brands like Dior and Louis Vuitton dictate silhouettes and palettes emulated by mid-tier labels, as evidenced by post-event spikes in global search volumes for featured motifs. The event's commercial footprint extends beyond France through buyer attendance and orders, with the six annual Paris fashion weeks—encompassing and prêt-à-porter—collectively generating approximately €10 billion in revenue via wholesale commitments from international retailers. These orders fuel production cycles for brands whose global sales, such as Louis Vuitton's €20 billion-plus annual figures, hinge on the visibility and validation afforded by runways. weeks alone contribute over €10 billion yearly, underscoring the causal link between runway endorsements and downstream manufacturing for export markets. Earned media value amplifies these effects, with Paris Fashion Week routinely achieving $500 million or more in EMV per season—$500.3 million for Spring/Summer 2026—surpassing other capitals and translating into heightened that sustains luxury's €350 billion-plus global market. Post-event media surges, reaching $1.1 billion in media impact value within 48 hours for recent iterations, drive worldwide, evidenced by elevated tax-free spending averages of €2,690 per international shopper during aligned periods. Despite luxury sector headwinds like softening in key economies, Paris's dominance in capturing 87% of its MIV rapidly post-show reinforces its role in sustaining high-margin sales cycles against competitors.

Cultural Export and Soft Power Dynamics

Paris Fashion Week serves as a primary conduit for France's cultural export, projecting ideals of sophistication, artisanal excellence, and innovative design that permeate global consumer culture and reinforce abroad. Organized biannually by the Fédération de la Haute Couture et de la Mode (FHCM), draws thousands of international buyers, journalists, and influencers, with the Fall 2025 edition alone generating over $727 million in media impact value through coverage across digital, print, and broadcast platforms. This exposure extends French fashion's influence, as trends debuted in Paris—such as structured silhouettes or sustainable fabric innovations—cascade into mass-market adaptations worldwide, evidenced by 's $1.1 billion media impact value recorded within 48 hours of its October 2025 conclusion. In terms of , Paris Fashion Week bolsters France's diplomatic leverage by cultivating admiration for its , much like historical exports of or cinema, but with quantifiable reach: the Spring/Summer 2025 shows amassed $437 million in value, surpassing prior seasons and outpacing rival fashion weeks in New York, , and . French government initiatives, including subsidies via the DEFI (Comité Colbert's promotional arm), subsidize emerging designers' participation, framing the week as an official instrument of that enhances France's attractiveness to tourists and investors, with international shoppers during the event contributing 40% of tax-free luxury spend despite comprising only 26% of visitors. Analyses describe this as in action, where events function as non-coercive "embassies," disseminating French values of refinement and to foster goodwill and economic ties. The dynamics of this reveal both strengths and tensions: Paris's regulatory emphasis on authenticity—protected since 1946 by FHCM standards—sustains its preeminence, with the segment yielding €200 million in media impact for its January 2025 edition, far exceeding competitors' outputs. Yet, evolving global priorities like digital natives' preferences for accessible aesthetics challenge France's traditional exclusivity, prompting adaptations such as hybrid physical-digital shows that amplified audience growth by 30% from 2023 levels. While industry reports from Launchmetrics affirm Paris's lead in media metrics, the reliance on luxury conglomerates like raises questions about whether state-backed prestige masks increasing commercialization, potentially diluting pure cultural export in favor of profit-driven narratives.

Controversies and Debates

Challenges to Traditional Beauty Standards

Efforts to challenge traditional beauty standards—characterized by slender figures, , and Eurocentric features—emerged prominently in Paris Fashion Week during the 2010s, with designers incorporating plus-size models to promote body diversity. For instance, in 2010, American designer featured established plus-size models like in his Paris presentation, signaling a shift toward broader representation amid growing critiques of the industry's emphasis on extreme thinness. Similarly, in 2020, Dutch model became the first plus-size figure to walk for since the brand's 2010 cruise collection, highlighting sporadic inclusions by luxury houses. These instances aligned with the broader movement, which advocated for representation of varied body types, peaking around spring/summer 2020 when 86 plus-size models appeared across major fashion weeks, including Paris. However, empirical data indicates these challenges have faced significant resistance and reversal, with plus-size representation declining sharply in subsequent seasons. By 2023, Paris Fashion Week featured only 40 plus-size models out of approximately 3,600 total appearances across 90 designers, representing less than 2% of casts. Recent analyses for spring/summer 2025 confirm lagging behind other capitals in size inclusivity, with many shows reverting to slimmer models amid a "return of thinness" driven by factors like widespread use of weight-loss drugs such as Ozempic. Plus-size models have reported agencies explicitly requesting "Caucasian" or thinner profiles, undermining prior diversity pledges and reflecting commercial pressures favoring traditional aesthetics that align with luxury clientele preferences. Other deviations, such as a dwarf catwalk show opening Paris Week, aimed to defy height norms but remained outliers rather than systemic shifts. While some independent designers like Ester Manas continue prioritizing mid-size and plus-size casting—featuring 19 mid-size and nine plus-size looks in a recent season—these efforts coexist with critiques that inclusivity often appears performative, failing to alter core industry standards rooted in market-driven ideals of elongated, lean silhouettes. Overall, challenges to traditional standards have yielded limited, transient progress, as evidenced by the post-2020 contraction in diverse body representation and persistent dominance of conventional proportions.

Diversity, Inclusivity, and Representation Critiques

Critics of Paris Fashion Week have frequently highlighted insufficient representation of racial and ethnic minorities, plus-size models, and varied body types, arguing that the event perpetuates narrow standards despite industry pledges for change. Data from Vogue Business's analysis of Spring/Summer 2025 shows that across major shows, only 0.8 percent of 8,763 looks were plus-size (US size 14+), with mid-size (US 6-12) at 4.3 percent, figures that remained stagnant or declined in subsequent seasons like Autumn/Winter 2024, where plus-size representation hovered at 0.8 percent per Vogue reports cited by the . Outlets such as have described this as an "alarming" disappearance of plus-size opportunities, noting a drop from 86 plus-size models in Spring/Summer 2020 to far fewer in recent years, attributing it to a waning body-positivity push amid commercial pressures. Racial diversity critiques point to persistent underrepresentation in high-profile shows, even as overall casting has improved marginally. The Fashion Spot's 2025 Diversity Report indicated 46 percent of Fall/Winter 2025 models were of color, up from 41.5 percent previously, yet specific Paris collections have drawn fire for predominantly white lineups, with Le Monde reporting in September 2025 a retreat from diversity efforts, including agencies openly requesting "Caucasian models" and the rehabilitation of figures previously sidelined by scandals. Cosmopolitan noted in September 2025 that plus-size and diverse body representation remained "absent" across fashion months, framing it as a loss of momentum in inclusivity drives initiated post-2010s social media campaigns. These criticisms often emanate from fashion media and advocacy groups with progressive orientations, which may overstate the causal links between representation and societal health while underemphasizing market-driven preferences for aspirational aesthetics that prioritize slim, youthful figures to appeal to luxury consumers. Empirical data from sources like Vogue Business underscores low size inclusivity not as outright exclusion but as alignment with historical norms, where Paris shows averaged just 40 plus-size models out of 3,600 in earlier seasons like Autumn/Winter 2023, per Glamour analysis. Designers like Ester Manas expressed fears in 2024 that size inclusivity was being treated as a passing trend rather than a sustainable shift, per , reflecting tensions between artistic vision and external demands. NSS Magazine critiqued Paris's "glaring delay" in plus-size visibility for Spring/Summer 2025, contrasting it with rising consumer expectations for , though such reports rarely quantify sales impacts of diverse casting.

Allegations of Cultural Appropriation

In January 2020, during Paris Men's Fashion Week, Japanese brand presented its Autumn/Winter 2020 menswear collection featuring predominantly white models wearing synthetic cornrow wigs styled to mimic Black hairstyles. The styling drew widespread accusations of cultural appropriation on and in fashion commentary, with critics contending that it trivialized a rooted in traditions without meaningful context or representation of the originating communities. issued a public apology, stating the wigs were intended as artistic expression but acknowledging the offense caused, and committed to greater sensitivity in future productions. Similar controversy arose in September 2024 at Valentino's Spring/Summer 2025 show during Paris Fashion Week, where models, including non-Black individuals, wore integrated into the hairstyling. Social media users and outlets labeled it cultural appropriation, arguing the brand profited from a hairstyle emblematic of Black resilience and identity without crediting its cultural significance or prioritizing diverse models. Valentino did not formally respond to the backlash, though defenders framed the choice as aesthetic inspiration rather than exploitation. In July 2025, unveiled a priced at approximately $200,000 featuring mukaish —a delicate gold-wire technique originating from , , dating to the —during Paris Fashion Week presentations. Indian artisans and commentators criticized the brand for failing to acknowledge the technique's heritage or involve originating craftsmen, viewing it as uncredited of traditional labor-intensive artisanal skills for luxury markup. maintained the design drew from but faced calls for transparency in sourcing cultural elements. Earlier, in , Dior encountered protests from Chinese communities in over a pleated skirt resembling the historical (horse-face skirt) from the , showcased in collections tied to Paris events; demonstrators accused the house of appropriating an iconic garment symbolizing Chinese femininity without historical attribution. The brand defended the piece as modern reinterpretation inspired by global archives, highlighting ongoing debates over whether such borrowings constitute or legitimate in fashion. In February 2025, Algerian media and social activists condemned and Giambattista for incorporating traditional Algerian and motifs into Paris Fashion Week collections without sourcing credit or with North African artisans, labeling it as erasure of indigenous craftsmanship amid the brands' commercial dominance. These incidents underscore patterns where Western-centric luxury houses adapt non-European elements for spectacle, prompting broader industry discussions on ethical sourcing, in cultural designs, and power imbalances between global brands and origin communities.

Commercialization Versus Artistic Integrity

The commercialization of Paris Fashion Week, which traces its roots to 19th-century salon presentations designed primarily to facilitate direct sales to elite clientele, has intensified since the event's formalization in 1973 by the Fédération de la Haute Couture et de la Mode. Originally emphasizing bespoke as an artisanal craft, the week now encompasses collections dominated by luxury conglomerates like and , whose houses account for a significant portion of the 111 brands showcased in the Spring/Summer 2026 edition, generating visibility that translates to billions in global retail revenue. This shift prioritizes buyer attendance, media exposure, and tie-ins over unfettered creativity, with production costs for individual shows often exceeding millions of euros to create spectacles that function as branded marketing events rather than pure artistic forums. Critics within the industry argue that such commercial pressures erode artistic integrity, compelling designers to produce risk-averse collections amid economic slowdowns, as evidenced by the Spring/Summer 2025 season where many eschewed elaborate sets, celebrity performances, and oversized casts in favor of restrained presentations reflecting budget reallocations toward profitability. Business of Fashion observers noted that, facing market contraction, participants largely "played it safe," with only a minority pursuing bold experimentation, underscoring how sales forecasts and shareholder expectations from parent companies constrain visionary output. Independent voices, including those from emerging American designers integrating into the schedule, highlight the challenge of sustaining creative autonomy when commercial viability demands alignment with trend cycles and mass-market adaptations, often diluting the experimental ethos that defined early haute couture houses like those of Charles Frederick Worth. Proponents of counter that it sustains the enabling artistic pursuits, funding collaborations between fashion houses and visual artists that inject conceptual depth into runways, as seen in events where such partnerships paradoxically afford "creative liberty" despite underlying profit motives. For instance, brands navigate this duality by extending collections to over 60 looks per show, a tactic driven by the need to appeal to diverse retail channels while signaling , though this can blur the line between couture exclusivity and commodified trends. Ultimately, the tension manifests in ongoing industry , where the Fédération's oversight aims to preserve 's status as a creative vanguard, yet empirical trends—such as rising digital streaming for global sales—reveal commerce as the dominant causal force shaping content, sometimes at the expense of uncompromised aesthetic exploration.

References

  1. https://www.fhcm.paris/en/paris-fashion-week
  2. https://www.fhcm.paris/en
  3. https://eurotravelo.com/explore/paris-fashion-week-france/
  4. https://www.fhcm.paris/en/our-history
  5. https://phileas-sites.webflow.io/stories/the-evolution-of-paris-fashion-week-from-origins-to-global-phenomenon
  6. https://www.hotelderbyalma.com/en/news/articles/paris-fashion-week-its-creation-and-evolution-53138
  7. https://www.fhcm.paris/en/the-events-of-fhcm
  8. https://globaledge.msu.edu/blog/post/57154/should-we-say-goodbye-to-fashion-week-a
  9. https://fazbuy.com/blogs/fashion-terms/what-is-federation-de-la-haute-couture-et-de-la-mode-france-fashion-terms-explained
  10. https://hongkong.consulfrance.org/Paris-Fashion-Week-Fall-Winter-2020
  11. https://www.metmuseum.org/essays/charles-frederick-worth-1825-1895-and-the-house-of-worth
  12. https://www.palaisgalliera.paris.fr/en/exhibitions/worth-inventing-haute-couture
  13. https://www.vogue.co.uk/fashion/article/article/history-of-paris-fashion-week
  14. https://iandrummondvintage.com/blogs/fashion-history/chambre-syndicale-de-la-haute-couture
  15. https://www.lofficielusa.com/fashion/history-of-haute-couture-2019
  16. https://www.fhcm.paris/en/federation-de-la-haute-couture-et-de-la-mode
  17. https://www.elsevier.es/en-revista-investigaciones-historia-economica-economic-328-articulo-managing-fashion-creativity-the-history-S1698698915000387
  18. https://fashionista.com/2016/09/fashion-week-history
  19. https://www.vogue.co.uk/fashion/gallery/history-of-the-fashion-show
  20. https://www.thevintagenews.com/2016/04/05/photos-show-paris-street-fashion-looked-like-back-1910-2/
  21. https://www.forbes.com/sites/rachelelspethgross/2024/01/23/its-paris-fashion-week-and-haute-couture-is-serious-business/
  22. https://www.harpersbazaar.com/uk/fashion/a31123/the-history-of-haute-couture/
  23. https://fashionhistory.fitnyc.edu/1940-1949/
  24. https://colbyecho.news/2024/10/04/a-timeline-of-trends-the-evolution-of-paris-fashion-week/
  25. https://www.history.com/this-day-in-history/february-12/christian-dior-launches-new-look-fashion-designs
  26. https://www.vogue.com/article/everything-you-need-to-know-about-christian-diors-new-look-silhouette
  27. https://aeworld.com/fashion/in-focus/the-history-of-haute-couture/
  28. https://www.aenigma-images.com/2017/01/1950s-paris-fashion-fantasy/
  29. https://www.sortiraparis.com/en/what-to-do-in-paris/shopping-fashion/articles/307377-paris-fashion-week-the-history-of-paris-fashion-week
  30. https://glamobserver.substack.com/p/the-history-of-paris-fashion-week
  31. https://www.whatparis.com/paris-fashion-week.html
  32. https://www.fhcm.paris/en/the-federations-missions
  33. https://wwd.com/fashion-news/designer-luxury/bruno-pavlovsky-elected-president-french-fashion-federation-ralph-toledano-successor-1235239708/
  34. https://www.cnn.com/2025/07/07/style/paris-haute-couture-week
  35. https://www.fhcm.paris/en/the-governance
  36. https://atelierclout.com/how-to-apply-for-paris-fashion-week-a-step-by-step-guide/
  37. https://www.byrdie.com/haute-couture-explainer-7505134
  38. https://www.retaildogma.com/haute-couture/
  39. https://www.france.fr/en/article/everything-you-need-to-know-about-haute-couture/
  40. https://www.scmp.com/magazines/style/luxury/article/3156488/how-do-luxury-brands-get-haute-couture-status-only-17
  41. https://somanstudios.com/en/fhcm/
  42. https://fashionweekonline.com/paris/producers
  43. https://www.lovehappensmag.com/blog/2025/01/05/the-top-haute-couture-designers-of-the-fhcm/
  44. https://fashionunited.com/news/background/the-contrast-between-haute-couture-and-ready-to-wear/2023063054605
  45. https://blog.mariahedian.com/paris-fashion-week-ultimate-guide/
  46. https://fashionunited.com/education/news/production-fashion-weeks-and-exclusivity-haute-couture-versus-ready-to-wear-fashion/2023082455514
  47. https://fashionweekonline.com/when-is-fashion-week
  48. https://www.fhcm.paris/en/haute-couture-week/calendar
  49. https://www.fhcm.paris/en/upcoming-seasons-and-previous-editions
  50. https://www.fhcm.paris/en/paris-fashion-week/calendar
  51. https://fashionunited.com/news/fashion/paris-fashion-week-schedule-unveiled/2025072867359
  52. https://www.homanieluxuryrentals.com/magazine/paris-fashion-week-2025
  53. https://www.hotelbleudegrenelle.com/news/articles/paris-fashion-week-where-to-stay-to-enjoy-fashion-week-63906
  54. https://fashionweekonline.com/paris/venues
  55. https://native-spaces.com/article/paris-fashion-week-ss26-venue
  56. https://www.parisselectbook.com/en/2025/10/14/fashion-week-paris-2026-unveils-highlights-key-venues-and-calendar/
  57. https://glamobserver.com/haute-couture-everything-you-need-to-know-under-10-minutes/
  58. https://veeton.com/blog/paris-fashion-week-2025-all-you-need-to-know
  59. https://fashionweekonline.com/paris/haute-couture
  60. https://wwd.com/fashion-news/designer-luxury/paris-couture-week-designer-changes-new-rules-1237965019/
  61. https://www.bdmma.paris/en/actualites/la-federation-de-la-haute-couture-et-de-la-mode-devoile-un-referentiel-commun-pour-l-ecoscenographie-des-evenements-de-la-paris-fashion-week/
  62. https://www.theguardian.com/fashion/2017/sep/06/french-fashion-giants-pledge-to-stop-using-underage-and-size-zero-models
  63. https://www.dw.com/en/french-fashion-houses-ban-super-skinny-models/a-40396961
  64. https://www.nytimes.com/2017/05/08/fashion/france-laws-thin-models.html
  65. https://www.bbc.com/news/world-europe-39821036
  66. https://www.theguardian.com/fashion/2017/may/06/fashion-models-france-doctors-note-thin-health-photographs
  67. https://www.nbcnews.com/news/us-news/two-major-fashion-houses-differ-what-should-be-minimum-age-n1006941
  68. https://www.npr.org/sections/health-shots/2015/12/22/460682633/is-it-time-to-set-weight-minimums-for-the-fashion-industry
  69. https://wwd.com/fashion-news/fashion-features/feature/france-passes-law-on-ultra-skinny-models-10300086/
  70. https://www.nbcnews.com/news/world/anorexia-crackdown-france-bans-fashion-models-who-are-too-thin-n335091
  71. https://pmc.ncbi.nlm.nih.gov/articles/PMC4815821/
  72. https://www.thefashionlaw.com/how-have-fashions-model-laws-impacted-the-fashion-industry/
  73. https://www.racked.com/2015/4/23/8481541/models-bmi-cheating
  74. https://wwd.com/fashion-news/fashion-features/feature/fashion-reaction-french-law-skinny-models-10302035/
  75. https://blogs.loc.gov/law/2025/07/what-haute-couture-really-means-in-french-law/
  76. https://www.thefashionlaw.com/resource-center/france-legal-protections-for-fashion/
  77. https://www.dreyfus.fr/en/2025/05/07/fashion-law-in-france-a-strategic-legal-framework-for-the-luxury-industry/
  78. https://core.ac.uk/download/pdf/9403814.pdf
  79. https://www.globallegalpost.com/lawoverborders/fashion-law-2116409480/france-561604550
  80. https://www.reuters.com/world/europe/deja-vu-olympics-push-france-ramps-up-war-fakes-2024-07-09/
  81. https://www.modemonline.com/fashion/mini-web-sites/fashion-services/references/modeaparis
  82. https://intellectual-property-helpdesk.ec.europa.eu/news-events/news/how-fashion-industry-uses-ip-stitch-fight-against-fakes-2025-10-10_en
  83. https://sryahwapublications.com/article/abstract/2637-5893.0801001
  84. https://thisisbeirut.com.lb/articles/1327235/paris-fashion-week-where-style-pays-off
  85. https://www.amworldgroup.com/blog/september-october-2025-fashion-weeks-nyc-milan-paris
  86. https://www.globalblue.com/en/business/newsroom/high-fashion-high-spend-paris-fashion-week-drives-luxury-tax-free-shopping-in-march-2025
  87. https://www.luxurytribune.com/en/paris-fashion-week-2024-how-did-it-go
  88. https://www.luxurytribune.com/en/haute-couture-week-over-10-billion-euros-generated-every-year
  89. https://www.accuracy.com/economic-point-of-view-the-economy-and-finance-of-french-luxury-the-art-of-living-first-and-foremost/
  90. https://www.wgsn.com/en/blogs/s/s-26-paris-fashion-week-trends-analytics
  91. https://us.fashionnetwork.com/news/Paris-fashion-week-dominates-digital-audience-driven-by-dior-louis-vuitton-and-saint-laurent-shows%2C1618815.html
  92. https://www.lemonde.fr/en/opinion/article/2025/10/11/paris-s-remarkable-fashion-week-masks-the-luxury-industry-s-headlong-rush_6746320_23.html
  93. https://www.voguebusiness.com/story/fashion/who-won-fashion-month-ss26-on-social-media
  94. https://wwd.com/fashion-news/fashion-scoops/paris-fashion-week-launchmetrics-data-1238299382/
  95. https://stylecartel.com/a-hierarchy-of-global-fashion-weeks-why-paris-reigns-supreme/
  96. https://www.mckinsey.de/~/media/mckinsey/locations/europe%2520and%2520middle%2520east/deutschland/news/presse/2024/2025-01-14%2520state%2520of%2520luxury/the-state-of-fashion-luxury-vf.pdf
  97. https://www.masscomglobal.com/reach-the-worlds-most-influential-luxury-audience-at-paris-fashion-week-2025/
  98. https://www.voguebusiness.com/story/fashion/who-won-fashion-month-on-social-media-ss25
  99. https://www.voguebusiness.com/story/fashion/which-fashion-capital-gets-the-most-government-support
  100. https://www.globalblue.com/en/business/newsroom/paris-fashion-week-top-spenders
  101. https://jdinstitute.ac.in/fashion-weeks-are-the-new-embassies-heres-why-it-matters-for-event-planners/
  102. https://luxus-plus.com/en/paris-fashion-week-surpasses-its-rivals-in-terms-of-audience/
  103. https://www.launchmetrics.com/resources/reports/fashion-week-2025-data-insights-by-launchmetrics
  104. https://www.theguardian.com/lifeandstyle/2010/sep/30/paris-fashion-week-plus-size-models
  105. https://www.businessinsider.com/plus-size-model-chanel-fashion-show-2020-3
  106. https://www.refinery29.com/en-us/body-inclusivity-in-fashion-2025
  107. https://www.glamour.com/story/this-is-exactly-how-many-plus-size-models-walked-during-fashion-month
  108. https://www.nssmag.com/en/fashion/41811/paris-fashion-week-lack-inclusivity-plus-size
  109. https://www.theguardian.com/fashion/2025/apr/15/ozempic-arrived-and-everything-changed-plus-size-models-on-the-body-positivity-backlash
  110. https://www.lemonde.fr/en/m-le-mag/article/2025/09/07/fashion-retreats-from-diversity-we-are-again-being-openly-asked-for-caucasian-models_6745111_117.html
  111. https://www.bbc.com/news/articles/c62elpm2md2o
  112. https://www.thesun.co.uk/news/4558796/dwarf-fashion-show-paris-fashion-week-beauty-standards/
  113. https://www.cnn.com/2024/09/26/style/ester-manas-inclusive-paris-fashion-week
  114. https://www.voguebusiness.com/story/fashion/the-vogue-business-spring-summer-2025-size-inclusivity-report
  115. https://www.cosmopolitan.com/uk/fashion/style/a68127368/fashion-week-plus-size-model-representation/
  116. https://www.lemonde.fr/en/m-le-mag/article/2025/09/13/they-want-us-to-be-big-but-without-any-fat-plus-size-models-face-return-of-thinness-in-the-fashion-industry_6745350_117.html
  117. https://www.bbc.co.uk/news/articles/c62elpm2md2o
  118. https://ayerhsmagazine.com/2025/07/26/how-the-fashion-industry-is-tackling-diversity-and-inclusion-in-2025/
  119. https://www.theguardian.com/fashion/2024/jan/23/fashion-industry-diversity-lack
  120. https://www.bbc.com/news/world-51166873
  121. https://www.teenvogue.com/story/comme-des-garcons-cultural-appropriation
  122. https://www.dazeddigital.com/fashion/article/47544/1/comme-des-garcons-apologise-wigs-cultural-appropriation-paris-fashion-week
  123. https://www.essence.com/fashion/fashion-week/paris-fashion-week/valentino-tiptoes-line-cultural-appropriation-paris-fw-cornrows/
  124. https://timesofindia.indiatimes.com/life-style/fashion/designers/after-prada-kolhapuri-drama-dior-faces-backlash-over-1-67-crore-mukaish-coat-with-zero-credit-to-india/articleshow/122234600.cms
  125. https://www.cnn.com/style/article/dior-cultural-appropriation-accusations-chinese-skirt
  126. https://nypost.com/2022/07/25/chinese-protesters-claim-christian-dior-ripped-off-ming-dynasty-design/
  127. https://www.watanserb.com/en/2025/02/05/paris-fashion-week-sparks-outrage-in-algeria-over-alleged-cultural-appropriation/
  128. https://www.france24.com/en/20190622-fashion-world-shaken-cultural-appropriation-claims
  129. https://www.voguebusiness.com/story/fashion/5-key-takeaways-from-paris-fashion-week-spring-summer-2026
  130. https://marcinparis.substack.com/p/paris-fashion-week-is-not-a-marketing
  131. https://www.voguebusiness.com/story/fashion/the-final-takeaways-from-paris-fashion-week
  132. https://www.businessoffashion.com/reviews/fashion-week/paris-fashion-week-spring-summer-2025-review/
  133. https://fashionunited.uk/news/fashion/how-a-new-wave-of-u-s-designers-is-reshaping-paris-fashion/2025100684269
  134. https://www.frieze.com/article/paris-fashion-week-opinion-2024
  135. https://www.stylelujo.com/paris-fashion-week-ss25-unveiling-the-future-of-fashion-with-rich-heritage-and-modern-innovation/
Add your contribution
Related Hubs
User Avatar
No comments yet.