DESIGN and ART MAGAZINE

Representing the Inca Empire, a model wears a Franck Sorbier gown in pale gold metallic silk organza with a crown and Sun-Moon scepter in sculpted plaster and clay, made by hand, with a gold patina. Photograph (above) by Andrea Heinsohn and cover picture by Jay Zoo for DAM.

A highlight of Paris Haute Couture, Franck Sorbier’s Autumn/Winter 2025-2026 collection looked beyond seasonal trends to explore myth, memory, and South American culture. Known for weaving history into couture, the designer drew on the legend of El Dorado and the rich traditions of the Andean world. Gold, ritual, conquest, and faith all converged on the runway, with meticulously hand-worked fabrics and sculptural accessories. Story by Jeanne-Marie Cilento. Photographs by Andrea Heinsohn and Jay Zoo.

As the Inca mood godess, a classical dancer

wears an exquisite lace chemise and foulard skirt,

at the finale of the show in Paris.

Photograph: Jay Zoo

FRANCK Sorbier's evocative runway show fused history and haute couture. The new Autumn/Winter 2025-2026 collection explored the legendary South American myth of El Dorado while highlighting Andean culture, fine craftsmanship, and ethical production practices.

The French couturier's signature integration of historical narratives and cultural motifs made for an engaging and poetic collection. With L'Eldorado, as he called it, he brought the legend of the Incas to the runway, combining mythological imagery with contemporary couture techniques, producing designs that are both theatrical and rooted in artisanal tradition.

The concept of El Dorado first emerged in the Bogotá region in 1536. Chroniclers describe the annual ritual of the Chibcha Indians: the lord, covered in gold dust, would bathe in Lake Guatavita, while the villagers cast gold and other precious objects into the waters. This practice, combined with reports of golden pagodas in Burma by explorers such as Marco Polo, contributed to the enduring myth.

“I wanted to show the gold of the Incas, the armour of the conquistadors, a lady from Lima immortalized by Irving Penn in 1947, an angel from Cuzco, a baroque ecclesiastical outfit, a bride with a pure soul..."


Black silk shantung cape, embroidered with pastel-colored beads over a skirt with a silk crumpled flounce and ruffled petticoat in white Valenciennes lace. Photograph: Jay Zoo

The Spanish conquest, driven by the promise of untold wealth, ultimately led to the plunder of the Inca Empire, which stretched from present-day southwest Colombia to central Chile, including nearly all of Peru, Ecuador, significant portions of Bolivia, and parts of northwest Argentina.

Despite the collapse of the empire, the El Dorado legend has persisted, evolving over centuries to symbolize new “treasures” in successive eras: from the Gold Rush to modern technology, cryptocurrency, and luxury markets today.

Franck Sorbier contextualized these historical and cultural references within the framework of his collection: “I wanted to show the gold of the Incas, the armor of the conquistadors, a folk image that could cross continents, a lady from Lima immortalized by Irving Penn in 1947, an angel from Cuzco, a baroque ecclesiastical outfit, a bride with a pure soul. This collection is a tribute to Andean culture, which has never departed from its original identity.”

The show’s dramatic opening tableau referenced Inca heritage. A long gown of pale gold silk organza, draped and cinched at the waist was combined with a hand-sculpted plaster and clay crown and carried a sun-moon sceptre, created by Bruno Le Page, establishing the collection’s narrative tone from the outset.

The couturier transformed the Paris runway into a chronicle of human ambition, cultural exchange, and artistic mastery, a modern retelling of the El Dorado story

Evocative gold patchwork bustier and

metallic silk organza scarf skirt.

Photograph: Jay Zoo

A gilded bustier and metallic silk organza scarf skirt complemented sculpted adorment, including necklaces, bracelets, and hairpins, demonstrating Sorbier’s focus on artisanal handcraft.

The Inca-inspired silhouettes, from a top and bustle skirt with a silk shantung stole-cape, to a hand-painted tunic, silk taffeta pants, and gold metallic poncho, conveyed both historical reference and couture design.

Each piece was accompanied by intricate accessories, with a recurring emphasis on clay elements finished with gold patina, based on the collaboration between Sorbier and Bruno Le Page.

The collection incorporated the historical figure of the Spanish conquistadors in garments that referenced protective armour while maintaining couture elegance.

A velvet jacket with pagoda sleeves; a draped vest and lace blouse combined crushed velvet with elaborate embroidery; a belted jacket drew on archival pieces from the 19th century. While a frock coat, woven from black silk satin ribbons layered over a draped wine-colored velvet vest, epitomized the blending of historical reference and Sorbier’s contemporary couture sensibility.

Textiles were layered and manipulated: wrinkled velvets, draped metallic organzas, hand-ribbed fabrics, and guipure lace cut and scalloped by hand

A draped vest in crushed silk velvet

worn over a blouse in embroidered

black lace, worn with long boots.

Photograph: Jay Zoo

Thigh-high boots in black silk faille with embroidered lace and appliqués were accompanied by a black Lyon lace veil. The overall effect referenced both historical authority and theatrical presentation, emphasizing the interplay of cultural narrative and haute couture technique.

Sorbier’s collection extended beyond conquest and ritual into ecclesiastical and folk imagery. Machu Picchu inspired a black silk shantung cape embroidered with pastel-coloured beads, layered over a flounced skirt of crumpled black velvet and a ruffled petticoat of white Valenciennes lace.

A sleeveless black velvet coat, hand-painted trousers, and mosaic lace blouse contrasted with the women of Lima in black crepe, velvet, silk faille, and intricately embroidered skirts, reflecting Andean traditions and colonial-era costume influences.

For the final look, a classical dancer represented the Inca moon goddess in a chemise with hand-made Lyon lace over a white silk chiffon foulard skirt ~ closing the show on a symbolic and ceremonial note.

The designs draw from South American myth, European colonial imagery, and Andean folk traditions, executed in fine fabrics and handwork

A beautiful jacket with a

19th century paisley pattern

with a palmette motif and

open sleeves over a blouse.

Photograph: Andrea Heinsohn

Sorbier’s palette reflected natural and historical references: metallic golds, terracotta, black, wine, sienna, and white. Textiles were layered and manipulated: wrinkled velvets, draped metallic organzas, hand-ribbed fabrics, and guipure lace cut and scalloped by hand. Embroideries in pastels and wavy silk satin ribbons added visual complexity and depth.

The attention to detail extended to all of the accessories, with jewellery, hairpins, combs, and sceptres in clay with a gilded finish. Each element reinforced Sorbier’s commitment to traditional handcraft and linked the collection’s historical inspirations to contemporary couture.

In addition to cultural narratives, Sorbier addressed contemporary ethical concerns. The designer reiterated his commitment to humane fashion practices: "This winter collection is an opportunity to once again demonstrate my commitment to not using fur”.Sorbier’s advocacy reflects the broader haute couture movement towards responsible sourcing and ethical production, highlighting a tension between opulence and conscience in modern luxury fashion.

The collection underscores that haute couture, while a luxury commodity, also serves as a medium for cultural preservation and ethical reflection

A striking, sleeveless coat with large shawl collar

in black and gold velvet with a black lace silk shirt.

Photograph: Jay Zoo

Franck Sorbier is the only designer in the world to hold both the Maître d’Art title and the Haute Couture label, distinctions recognizing technical mastery, innovation, and cultural contribution. Over three decades, he has produced collections for high-end ready-to-wear and couture.

Born in the French Basque Country, Sorbier was immersed in textile crafts from childhood. His early experiences inspired a lifelong interest in fabric, technique, and artisanal creation.

Early career achievements included award-winning designs, eventually leading to the establishment of his eponymous brand in 1990. Recognized by the French Ministry for Culture as a Grand Couturier in 2005 and awarded the Maître d’Art label in 2010, Sorbier continues to teach and mentor new generations of designers, emphasizing the transmission of hands-on craftsmanship.

In a world increasingly focused on technological innovation, space exploration, and the next 'gold rush,' Sorbier’s work reminds viewers of the enduring power of craft, heritage in defining luxury

French designer Franck Sorbier takes his bow

at the finale of his haute couture show in Paris.

Photograph: Andrea Heinsohn

L' Eldorado demonstrates Sorbier’s capacity to integrate cultural research into a cohesive collection. Overall, the designs draw from South American myth, European colonial imagery, and Andean folk traditions, executed in fine fabrics and handwork.

The collection’s relevance extends beyond aesthetics. In a world increasingly focused on technological innovation, space exploration, and the next “gold rush,” Sorbier’s work reminds viewers of the enduring power of craft, heritage in defining luxury.

The collection underscores that haute couture, while a luxury commodity, also serves as a medium for cultural preservation and ethical reflection.

The couturier transformed the Paris runway into a chronicle of human ambition, cultural exchange, and artistic mastery, a modern retelling of the El Dorado story. For Sorbier, this collection is a statement of values, a homage to Andean culture, and a testament to the possibilities of couture when history, craft, and conscience converge.

Scroll down to see more highlights from Franck Sorbier's Autumn/Winter 2025-2026 collection:

Franck Sorbier,L'Eldorado, Autumn/Winter 2025-2026. Paris Haute Couture. Photograph: Andrea Heinsohn

Franck Sorbier, L'Eldorado, Autumn/Winter 2025-2026. Paris Haute Couture. Photograph: Jay Zoo

Franck Sorbier,L'Eldorado, Autumn/Winter 2025-2026. Paris Haute Couture. Photograph: Jay Zoo

Franck Sorbier,L'Eldorado, Autumn/Winter 2025-2026. Paris Haute Couture. Photograph:Jay Zoo

Franck Sorbier,L'Eldorado, Autumn/Winter 2025-2026. Paris Haute Couture. Photograph: Andrea Heinsohn

Naomi Watts in gingham and black leather at the Celine SS26 show in Paris.

Despite gloomy skies and a steady downpour, the energy around Celine’s Paris headquarters was anything but dreary as fashion and celebrity guests arrived to witness Michael Rider’s first collection for the house. Set in the brand’s historic 17th-century atelier, the show marked the beginning of a new chapter one that unfolded with precision, confidence, and an impressive guest list, writes Ambrogio de Lauro

V from the K-Pop band BTS was one

of the stars in the Celine front row.

AMONG the first to cause a stir at the debut of Michael Rider's Celine show in Paris, was Kim Taehyung, known as V, of BTS, who arrived early, drawing excited crowds. His appearance, marking his return to the spotlight, set the tone for an event that mixed anticipation with star-studded glamour. Fellow Korean actors Park Bo-gum and Suzy Bae joined him shortly after, creating a flashpoint for the camera-wielding scrum gathered at the venue’s entrance.

Inside the rain-slicked courtyard, familiar faces took their places on the sandstone-colored benches. Naomi Watts arrived dressed in a polished yet playful look that matched the tone of the collection ~ structured, refined, and with unexpected flourishes.

Canadian actors Emily Hampshire and Dan Levy shared a front-row moment, clearly enjoying the scene, while Lily McInerny and rising French-Canadian talent Théodore Pellerin brought a fresh edge to the guest lineup. Industry veterans and tastemakers, including Alanis Morissette, Kristen Wiig, Dev Hynes, Jerrod Carmichael, and design heavyweights like Jonathan Anderson and Raf Simons, rounded out the crowd.

The collection itself reflected a thoughtful evolution of the house’s past codes. Rider introduced a blend of tailoring, athletic references, and tactile playfulness, merging high-gloss polish with offbeat flourishes. Men’s and women’s pieces were shown together, with close-fitting silhouettes, sculptural shapes, and statement accessories that emphasized Celine’s new direction.

Bags, jewellery, and sporty classics were reimagined with a touch of wit and a nod to function, underscoring the designer’s instinct for balancing commercial appeal with sharp design. Though the rain soaked the sandstone and streaked the silken canopy above, it did little to dampen the excitement. With a strong debut and a room full of influential eyes watching closely, Rider made it clear that Celine is entering a vibrant new phase, one where heritage meets bold vision of renewal.

Scroll down to see more guests at the Celine Spring/Summer show in Paris