Why Couture Clients Keep Buying Six-Figure Gowns

“Nobody really needs couture, to be honest,” said Demna after his Balenciaga haute couture show this week in Paris. No, most people do not need a bespoke gown that costs six figures and takes highly trained petites mains thousands of hours to make by hand. And yet.

Partaking in the official haute couture fashion week in Paris—which is rife with arcane rules about how the clothes are made—can pay off handsomely for the few designers left in the club. For the 15 or so brands that invest in the game, including Dior and Chanel, couture can multiply press and red-carpet opportunities, and have a trickle-down effect on sales of ready-to-wear and beauty and fragrance.

Then there are the orders, which can total in the millions for a single client. Wealthy couture diehards fly in for the shows and then quickly convene in cosseted showrooms to make their selections while munching macarons. Competition can be fierce, especially when a stylist nabs a gown early on for, say, Cardi B. When you’re paying this much to look unique, no one wants a duplicate.

Couture is famously over-the-top, and this season was no exception, with rampant feathered capes, obscuring hoods and trailing trains. But philanthropist, creative director and avid couture client Fredrik Robertsson told me he found the looks very wearable this season: “less PR showstoppers and more things people actually want.” He pointed to the calmer suits and cocktail dresses at Schiaparelli, which has in the past paraded out looks such as one bearing a faux lion’s head .

Couture can sag somewhat under the weight of its history. Craftsmanship, fashion’s favourite buzzword, can be a burden too, with designers feeling the need to embellish every gown with hand-embroidered butterflies and panoplies of pearls. But the following five looks show how a range of designers are making couture relevant today.

Balenciaga’s Sculptural Chaos

Demna, who goes by a mononym, is perhaps the contemporary designer most intent on bringing couture into the future. While he’s never far from Cristóbal Balenciaga’s archive—with its dramatic shapes and volumes—he’s also a student of streetwear. So the subcultures he reveres, from goth to skate kids, were present in his deceptively casual designs. Would the founder of the house turn in his grave at metal-band T-shirts masquerading as couture? Maybe not once he realised they were in fact hand-painted over a period of several days.

This top and skirt ensemble is made from unstitched cotton-jersey elements, which are then assembled and sewn together, and knotted on the model. It is a wearable sculpture, with the casual look of a pile of T-shirts.

Chanel’s Sublime Sweatsuit

Chanel, which is between creative directors after the departure of Virginie Viard, showed its haute couture collection at the Opéra Garnier. While many of the looks echoed the vibe of the classic theatre—including a sumptuous pink silk opera coat—some of the most successful moments were surprisingly dressed down. Robertsson, the Swedish couture client, exclaimed, “Chanel even had sweatpants!”

Shown on model-du-jour Amelia Gray Hamlin, the black Chanel sweatsuit was not technically a sweatsuit. It was a wool crepe jersey set trimmed in duchesse satin ruffles and organza. It was also shown in cream, and it will sell.

Dior’s Deceptively Simple Column

Maria Grazia Chiuri, one of the only female designers making couture, showed an elegantly restrained collection in a room filled with shimmering artwork by Faith Ringgold, who died earlier this year. Nodding to an Olympic year without being too heavy-handed, Chiuri presented Grecian-inspired draped dresses, flat lace-up sandals, and sporty tanks and bodysuits.

This long asymmetrical dress in cream-coloured silk jersey over a tank top is almost sporty, and a refreshing break from some of the more hobbling ensembles on display this past week. But that’s no ordinary tank top: It’s embroidered with silver-colored micro-tube beads that have hematite-clawed jewels on them.

Schiaparelli’s Faux Feathers

Daniel Roseberry, the charming Texan who’s revamped a dusty Parisian couture house, is a true believer in the art of couture. But he’s also savvy about its press potential, so this season, the show didn’t start until paparazzi magnets Kylie Jenner and Doja Cat had arrived.

The house’s founder, Elsa Schiaparelli, was a surrealist innovator who collaborated with her friend Salvador Dalí on one of the first trompe l’oeil garments . Roseberry continues his predecessor’s taste for trickery in his work. This jacket is embroidered all over with what appear to be small white feathers, but are in fact 10,500 silk-organza snippets. Because each “feather” is handmade, the jacket takes over 7,000 hours of work to create. Worn over a pair of smart black cropped pants, it’s almost work appropriate.

Jean Paul Gaultier’s Undressed Dress

Jean Paul Gaultier, which maintains a healthy and bustling couture business, has adopted the clever strategy of inviting buzzy non-couture designers to collaborate on its collections. Simone Rocha, Glenn Martens, Olivier Rousteing and Chitose Abe of Sacai have all worked it out on the remix with Gaultier. Nicolas Di Felice, the artistic director behind Courrèges’s Pinault-backed renaissance, was up this season.

Di Felice, whose friends span Paris’s creative industries, brought his cool-kid approach to Gaultier. Many pieces featured couture details like rows of hook-and-eye closures, and partially hidden tulle corsets. But there were Di Felice signatures, too: koala-pouch front pockets, narrow trousers, tiny party dresses. This cheeky gown is carefully constructed to look like the top slip is falling away to reveal a bustier.

There has rarely, if ever, been so much tech talent available in the job market. Yet many tech companies say good help is hard to find.

What gives?

U.S. colleges more than doubled the number of computer-science degrees awarded from 2013 to 2022, according to federal data. Then came round after round of layoffs at Google, Meta, Amazon, and others.

The Bureau of Labor Statistics predicts businesses will employ 6% fewer computer programmers in 2034 than they did last year.

All of this should, in theory, mean there is an ample supply of eager, capable engineers ready for hire.

But in their feverish pursuit of artificial-intelligence supremacy, employers say there aren’t enough people with the most in-demand skills. The few perceived as AI savants can command multimillion-dollar pay packages. On a second tier of AI savvy, workers can rake in close to $1 million a year .

Landing a job is tough for most everyone else.

Frustrated job seekers contend businesses could expand the AI talent pipeline with a little imagination. The argument is companies should accept that relatively few people have AI-specific experience because the technology is so new. They ought to focus on identifying candidates with transferable skills and let those people learn on the job.

Often, though, companies seem to hold out for dream candidates with deep backgrounds in machine learning. Many AI-related roles go unfilled for weeks or months—or get taken off job boards only to be reposted soon after.

Playing a different game

It is difficult to define what makes an AI all-star, but I’m sorry to report that it’s probably not whatever you’re doing.

Maybe you’re learning how to work more efficiently with the aid of ChatGPT and its robotic brethren. Perhaps you’re taking one of those innumerable AI certificate courses.

You might as well be playing pickup basketball at your local YMCA in hopes of being signed by the Los Angeles Lakers. The AI minds that companies truly covet are almost as rare as professional athletes.

“We’re talking about hundreds of people in the world, at the most,” says Cristóbal Valenzuela, chief executive of Runway, which makes AI image and video tools.

He describes it like this: Picture an AI model as a machine with 1,000 dials. The goal is to train the machine to detect patterns and predict outcomes. To do this, you have to feed it reams of data and know which dials to adjust—and by how much.

The universe of people with the right touch is confined to those with uncanny intuition, genius-level smarts or the foresight (possibly luck) to go into AI many years ago, before it was all the rage.

As a venture-backed startup with about 120 employees, Runway doesn’t necessarily vie with Silicon Valley giants for the AI job market’s version of LeBron James. But when I spoke with Valenzuela recently, his company was advertising base salaries of up to $440,000 for an engineering manager and $490,000 for a director of machine learning.

A job listing like one of these might attract 2,000 applicants in a week, Valenzuela says, and there is a decent chance he won’t pick any of them. A lot of people who claim to be AI literate merely produce “workslop”—generic, low-quality material. He spends a lot of time reading academic journals and browsing GitHub portfolios, and recruiting people whose work impresses him.

In addition to an uncommon skill set, companies trying to win in the hypercompetitive AI arena are scouting for commitment bordering on fanaticism .

Daniel Park is seeking three new members for his nine-person startup. He says he will wait a year or longer if that’s what it takes to fill roles with advertised base salaries of up to $500,000.

He’s looking for “prodigies” willing to work seven days a week. Much of the team lives together in a six-bedroom house in San Francisco.

If this sounds like a lonely existence, Park’s team members may be able to solve their own problem. His company, Pickle, aims to develop personalised AI companions akin to Tony Stark’s Jarvis in “Iron Man.”

Overlooked

James Strawn wasn’t an AI early adopter, and the father of two teenagers doesn’t want to sacrifice his personal life for a job. He is beginning to wonder whether there is still a place for people like him in the tech sector.

He was laid off over the summer after 25 years at Adobe , where he was a senior software quality-assurance engineer. Strawn, 55, started as a contractor and recalls his hiring as a leap of faith by the company.

He had been an artist and graphic designer. The managers who interviewed him figured he could use that background to help make Illustrator and other Adobe software more user-friendly.

Looking for work now, he doesn’t see the same willingness by companies to take a chance on someone whose résumé isn’t a perfect match to the job description. He’s had one interview since his layoff.

“I always thought my years of experience at a high-profile company would at least be enough to get me interviews where I could explain how I could contribute,” says Strawn, who is taking foundational AI courses. “It’s just not like that.”

The trouble for people starting out in AI—whether recent grads or job switchers like Strawn—is that companies see them as a dime a dozen.

“There’s this AI arms race, and the fact of the matter is entry-level people aren’t going to help you win it,” says Matt Massucci, CEO of the tech recruiting firm Hirewell. “There’s this concept of the 10x engineer—the one engineer who can do the work of 10. That’s what companies are really leaning into and paying for.”

He adds that companies can automate some low-level engineering tasks, which frees up more money to throw at high-end talent.

It’s a dynamic that creates a few handsomely paid haves and a lot more have-nots.