A new era of visual brilliance for the House begins on June 24 as Iris van Herpen unveils her first aerial sculptures alongside her signature mesmerising Couture during Paris Haute Couture Week.

The four enormous artworks, which were intended to be seen in pairs, are hung and stretched from steel tubes and showcase a variety of avant-garde techniques on tulle surfaces. A favourite fabric often associated with classical ballet costumes; tulle also forms the foundation of the majority of van Herpen’s couture creations.

In addition to honouring her return to nature, the designer’s sculptures also reflect the great freedom that comes with decelerating. Curving, hand-pleated silk figures reminiscent of Van Herpen’s feeling of time being extended outside are used in Unfolding Time. She discovered after doing more study that this was a common occurrence: « It’s proven that people experience time in a different way within nature. »

Although the artworks honour the breathtaking majesty of nature, the hybrid presentation challenges viewers to re-evaluate their personal relationship with the earth. In addition to van Herpen’s early exposure to the arts, her parents also educated her about the pressing environmental issues and the need for widespread change.

Performers are shown next to the sculptures as living works of art that are raised and partly sculpted into their own canvases to symbolise humanity’s belief in its supremacy. Iris van Herpen promotes a process of self-realization in which people broaden their knowledge of the self to encompass their interactions with other living species by staring directly into the audience’s eyes. « I don’t think of my garden as mine; instead, I share it with all other living things at my house. The more untamed, the better, says the creative director, who finds great pleasure in studying the insects and envisioning their « umwelts, » a concept German biologist Jakob von Uexküll first used to characterise every organism’s distinct sensory experience.

Iris van Herpen’s couture pieces also seem to have a life of their own, whether it’s through forms that defy gravity or airy, ethereal draping. The House’s heritage includes 3D printing and silk folding, but new methods are also displayed. The gowns Aeromorphosis and Umwelt, for instance, have a delicate pearl gradient that mirrors the cyclonic compositions of the sculptures, and the transparent Ataraxy gown, which was moulded using a heat gun, reflects the floating aspect of the artworks. The white Ecosophy gown, like Unfolding Time and Ancient Ancestors, combines organza with elaborate 3D-printing that flows into lace. With the Sensorium garment, which is made of obi fabric from the couturier’s kimono collection, van Herpen pays homage to the Japanese workmanship, accuracy, and spirituality of everyday life.

Instead of the usual fast-paced runway, Iris van Herpen presents the sculptures and couture looks simultaneously as works of art, encouraging the audience to take their time and enjoy the creativity and craftsmanship.

Discover Iris van Herpen’s “Hybrid Show” Spring-Summer ’25 Collection on Crash.