10 Haute Couture Spring 2016 looks we love

A gush-worthy spectacle


By Wei Yeen Loh

10 Haute Couture Spring 2016 looks we love

Armani Privé

Giorgio Armani had old Hollywood glamour in mind with Spring/Summer 2016’s haute couture collection that were made up of hues of purple. This impeccable number fuses both vintage and modern elements, from its styling (Marcel waves) to its embellished and textured material—perhaps the first lilac look we’re crushing on this season.



There was plenty to talk about during Chanel’s haute couture show, be it the giant Princess Leia/croissant-lookalike chignons or the “ecological approach” that Karl Lagerfeld took with the materials and silhouettes. But what we loved the most was this oval-sleeved dress with 3D embroidery (naturally) and delicate white flowers peppered over the skirt, evoking a futuristic vibe that went beautifully with her hair and makeup (although we can’t say the same for the cork wedges).



Studio directors Serge Ruffieux and Lucie Meier rolled out a wearable collection filled with realistic pieces that could relate to consumers, a distinct trait from what the usual haute couture collections offer. What we really would wear from Dior this season is this white Bar jacket and pencil skirt combo. It’s truly the details that make an outfit stand out subtly: the long flounced cuffs, sensual side slit, embroidered lilies of the valley, and even the ankle-strap ribbon shoes. Très chic.


Guo Pei

The Chinese couturier debuted her namesake label’s couture show with a royal offering that might have stunned us to silence if we had actually seen this in person. The ballgown matched the set’s details (spot that gold-plated tree in the background) grandly, and this guipure lace bustier gown filled our quota of bold theatrical pieces we look forward to seeing in haute couture collections.


Stéphane Rolland

Haute couture isn’t just about the bold and beautiful (although we’d never get enough of such looks) so look 16 from Stéphane Rolland checked all our boxes for making a difference in the couture scene. The upper part of this gown is an interesting textured fabric made up of crystals sewn into 3D spikes. While the top screams luxe armour, the bottom adds a contrasting element with feminine swathes of tulle.



As always, Maria Grazia Chiuri and Pierpaolo Piccioli gave us a romantically inclined collection that had breathtaking elements: intricate brocade, sheer gauzy skirts, and even gold in the form of serpent hair accessories and medallions attached/sewn onto gowns. This filmy white piece is everything we’re dreaming of, and we’re loving how the gold medallions inject a Greek goddess vibe to this look.


Viktor & Rolf

What could we expect but walking—and towering—works of art from the dynamic duo? Viktor Horsting and Rolf Snoeren gave us a radical all-white collection inspired by Cubism, and despite how these fashion sculptures might be deemed unwearable to some (except for the likes of Lady Gaga and Róisín Murphy), this white dress with a 3D face plastered on the front is an unpredictable number we’d gladly wear.  


Zuhair Murad

Although we’re fond of red carpet favourite Zuhair Murad’s heavily embellished creations that usually include a mile-long train and plenty of luxe fabric, this short and sassy look is our favourite from his haute couture collection. Reminiscent of a white gilded cage, the crinolined frock had white floral embroidery smattered all over—cue a dreamy sigh as you visually take in this stunning number.


Giambattista Valli

You can’t always have a princess moment without it being the most absurd and voluminous piece to wear. And at Giambattista Valli’s Haute Couture SS16, this empire-waist tiered pleated tulle dress was that princess moment. It just about had our hearts stop beating as our eyes feasted on the model gliding (or floating?) down the runway.


Elie Saab

And like every haute couture presentation, the final bridal look of our choice this season is none other than Elie Saab’s sari-inspired gown. The couturier did the eastern Indian culture justice, juxtaposing Victorian-era silhouettes while referencing Indian bridal wear with a built-in sash on the ethereal pale-blush gown. We appreciate when a couturier tries to steer away from what’s safe and foolproof, and Saab’s change in aesthetic (albeit a slight one) is one that we look forward to seeing in the future.


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Dior Couture Spring 2016 Collection
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