PARIS -- Olivier Rousteing opened Balmain’s Wednesday show at Paris Fashion Week with an audacious angular micro-gown — a glittering number featuring peaked shoulders, humped hips and a massive clasping hand motif. It was clear from the start: this season’s Balmain was not going to be a study in subtlety.

Meanwhile, Nicolas Di Felice's latest collection for Courrèges transported the audience to a futuristic world.

Here are some highlights of Wednesday's shows:

Rousteing , ever the showman, leaned into extremes, delivering a collection that unapologetically fused boldness with a dose of camp.

Prints of half-painted women's faces guided the eye down floor-length gowns, while disembodied eyes, lips, noses, and nails formed the recurring visual motifs of the evening. At its core, this collection's identity rested on the sculpted, almost architectural, shoulders – a signature of Balmain's power dressing reimagined once more. This exaggerated effect extended to the hips in gold-striped chain mini-dresses, evoking a heightened 1980s glamour.

Not every look was a complete success, however. A pink-beige conical suit suffered from uneven asymmetry, with a bustline that seemed oddly repelled by the garment itself, a reminder of Rousteing's tendency to overindulge in his maximalist aspirations. As with previous collections, the lack of restraint occasionally detracted from the overall cohesion, a critique that has followed him through various seasons.

That said, there were moments of pure joy and theatricality, such as a cream skirt with a 3D face peering out, a playful nod to Rousteing's penchant for surrealist humor. This playful audacity keeps the Balmain faithful coming back, even when some pieces struggle under the weight of their own excess. Rousteing's balancing act between bold experimentation and structural precision remains his triumph and Achilles' heel.

In many ways, this collection echoed themes from his archive: an obsession with exaggerated silhouettes, a love for sculptural shoulders, and a desire to weave his personal narrative into the fabric of his designs. But as always with Balmain, the risk and spectacle are as much a part of the show as the clothes themselves. This time, Rousteing embraced both with gusto. Whether all his risks paid off is up for debate, but one thing is certain: subtlety was never part of the plan.

Di Felice transported the audience into a futuristic world, with models circling a black void within the Carreau du Temple in Paris' Marais district. The minimalism that has become his signature was on full display, but the subtle and unexpected touches provided a distinctive offbeat, fashion-forward edge. In a collection starting with black and charcoal hues, trapeze silhouette dresses featured slits instead of sleeves, allowing models to show off their arms in a cool, confident gesture. The looks exuded a sleek, rebellious sensuality, paired with black turtlenecks and knee-high, form-fitting boots. Ubiquitous wraparound shades made the models appear untouchable, too cool for school.

Yet, this wasn't merely a simplistic exercise in minimalism. Di Felice's talent for blending sensuality with technical skill elevated the collection. The geometric halter necks and precise cuts in the dresses —often with cropped shoulders — gave the silhouettes a tailored quality, while unexpected lengths in the backs of skirts and thick, billowing hems kept the collection feeling fresh.

The spirit of André Courrèges , the visionary of the 1960s who defined the Space Age, was evident. Di Felice's homage to that era came in fitted, narrow-shouldered gowns in white and slightly flared trousers — echoes of Courrèges' legacy reimagined. Bare midriffs, another 1960s reference, were revisited with a modern, bold twist: a simple strap across the bust like a fashionable hyphen, elegant in its simplicity.

Di Felice's style lies in his ability to create a sense of intimacy without embracing the “naked dressing” trend, which has been a dominant theme in the fashion world. Instead, he stays true to his slyly coded version of Parisian chic, subtly provocative without being overly dramatic.

Dries Van Noten's first collection since the eponymous designer stepped down in June boldly walked the line between innovation and heritage. The runway was a testament to Van Noten's influence, seamlessly blending historical references with futuristic silhouettes in a display that felt both familiar and fresh.

The show opened with a loosely silhouetted snake-print coat, its deconstructed 1920s vibe setting the tone for the collection. This was no mere nostalgia trip, however. A trench coat, highlighted by bold black hems, recalled the graphic sensibilities of a video game or an animated classic like “Tintin.” It was playful yet refined, reflecting Van Noten's over his 40-year reign.

One of the standout pieces was an 18th-century-inspired Bordeaux soldier’s coat, complete with ruffled sleeves, grounding the collection in historical sensibility. This sense of history and textural contrasts in sensual blues, reds and salmons embodied Van Noten’s legacy. Pastel hues played against flashes of gold, high-waisted skirts accentuated femininity, and upturned shirt necks added a touch of whimsy.

Despite its elegance, the collection echoed familiar critiques of Van Noten's recent works: a tension between spectacle and subtle elegance, where the dramatic presentation can sometimes overshadow the clothes themselves. Yet, as the pieces graced the runway, each garment—whether steeped in nostalgia or pushing the boundaries of modern design—proved Van Noten's guiding principle: style over fleeting fashion trends.

Julien Dossena's latest Paco Rabanne collection was a paradox. Model Gigi Hadid kicked off the show in a blue pastel-striped shirt ensemble with a striking diagonal cut and unexpected skorts, setting the stage for a collection defined by its unpredictable mix of ideas. Oversized, big-shouldered jackets soon took over the runway, injecting a sense of power dressing, while flashes of the house's signature chain mail dresses reminded the audience of Rabanne's distinctive identity.

However, amidst the brilliance, there were some missteps. A gold gown with an awkward silhouette, too bulky to flatter, and a striped blue dress featuring an ill-conceived bow were the evening's low points. These pieces leaned towards impracticality—a criticism often leveled at Dossena's work, where creativity sometimes takes precedence over functionality. The unflattering elements highlighted how his avant-garde designs occasionally push the boundaries of practicality, even as they challenge conventional norms.

Yet, Dossena's signature craftsmanship and talent for infusing joy into his designs were undeniable. An oversized boxy tuxedo, with shimmering mermaid-like lapels, stood out as a moment of pure sartorial delight. It showcased Dossena's ability to innovate, blending surrealism with wearable fashion—a skill he's been lauded for, even in his most experimental creations. As always with Dossena, the unexpected was a welcome surprise.