In Paris this week, Duran Lantink made his couture debut as the first permanent creative director of Jean Paul Gaultier, stepping into the role after the iconic brand’s founder. Known for provocative designs that blur traditional gender norms and challenge fashion orthodoxy, Lantink’s inaugural haute couture collection combined the house’s craftsmanship with his experimental aesthetic, marking a significant moment in contemporary fashion.
Lantink gained early attention for pushing boundaries, notably last year when his independent show opened with a male model wearing female chest prosthetics and closed with a female model sporting male ones. This October, he stirred discussion again by presenting a bodysuit printed with a naked male body, including explicit genitalia, during his first ready-to-wear show for Gaultier. His couture collection, highly anticipated for its fusion of tradition and irreverence, did not disappoint in terms of spectacle.
The collection featured tailored jackets with exaggerated, pointed shoulders and altered necklines, a white dress adorned with hundreds of silk crocodile scales, and layered mille-feuille jackets crafted from ivory silk. However, Lantink’s more extreme pieces evoked comparisons to extravagant 18th-century court attire, featuring voluminous constructions adorned with feathers, velvet flocking, and extensive tulle. One finale gown spanned nearly three meters in width and combined elements reminiscent of Marie Antoinette’s opulence with surreal architectural forms, leading some observers to question its wearability while acknowledging its potential cultural resonance.
These dramatic designs reflect a broader trend in haute couture toward creating “meme couture”—garments that aim to capture viral attention through unconventional and visually striking concepts. The modern fashion show increasingly functions as a digital spectacle designed less for direct sales and more for online engagement, where extreme looks serve as advertisements in themselves. Lantink’s inclusion of a plastic breastplate embedded with lavender sprigs—a nod to Gaultier’s Le Male fragrance—exemplified this blend of branding and theatricality.
Other designers are following suit. Silvana Armani’s recent Prive presentation included a pastie dress suspended from embroidered nipple covers, while Robert Wun paired exaggerated corsetry with childhood-themed accessories like teddy bears and balloons, emphasizing spectacle over practicality. These shows underscore fashion’s pivot to generating buzz on social media platforms, recognizing that only a select few can afford couture, but millions can engage with and comment on the images.
Yet some designers are incorporating meaningful commentary within this spectacle. Viktor&Rolf’s latest show featured an older and younger model dressing in gold and burlap outfits respectively, culminating in gowns emblazoned with “decadence” and “restraint.” The presentation reflected on aging, luxury, and societal expectations in a conceptual performance. Similarly, Daniel Roseberry of Schiaparelli embraced a subtle surrealism by integrating unconventional materials like preserved hydrangea flowers embroidered on lace and silicone shaped like silk, including LED-illuminated skirts. Roseberry’s work examined the intersection of humanity and technology, gaining prominent attention when actress Zendaya wore the finale look on a press tour shortly after its debut.
In today’s fashion landscape, generating viral content is essential, but the most impactful creations balance spectacle with substance. Lantink’s debut signals a readiness to engage with couture’s historical grandeur while embracing contemporary digital culture. Nonetheless, some critics argue that, compared to Jean Paul Gaultier’s legacy of combining humor with pointed social commentary, Lantink’s work may yet explore deeper thematic layers alongside its provocative visuals. As haute couture continues to navigate the tension between craftsmanship, storytelling, and digital virality, designers are redefining what fashion means in an online age.