Isabel Bazzani is a luxury stylist and personal shopper based in Paris, known for sourcing exclusive pieces for her high‑net‑worth clients. Ahead, she shares her exclusive Couture Week diary with Coveteur.
There’s no quiet in Paris when Couture Week arrives. The city comes alive with theatrics; the mood, electric with urgency. Car horns blare over gridlocked traffic, crowds gather at grand show entrances, and photographers cluster on corners, hoping to catch a flash of a familiar face. Editors, stylists, buyers, and celebrities crisscross the arrondissements, attempting to stay somewhat on time throughout four days packed with shows, re-sees, fittings, and soirées. The reality of the schedule is a carefully choreographed sprint.
As a personal shopper and global sourcing specialist for high-net-worth clients around the world, Couture Week is one of the most demanding, yet rewarding times of my year. Bouncing between runways, haute joaillerie presentations, and private brand appointments, making sure my clients can access pieces that never make it to a boutique floor, let alone online—I’m the eyes for the 1% who don’t want the spectacle, just the exclusivity.
Day 1: Monday
After two weeks of heatstroke in Paris, the rain decided to come in full force. Naturally, it was the day I wore the most summer-appropriate look head-to-toe in sparkling pink Georges Hobeika Spring/Summer 2025 with C Heinrich Diamonds. I arrived at the Bourse, where the collection leaned heavily into romanticism: pearl-adorned gowns, champagne tones, sculpted silhouettes.
My phone is always in hand, capturing close-ups and movement in every look, all sent in real-time to clients across time zones. One standout: a sheer, crystal-studded high-neck bodice paired with a sculptural pleated gold skirt, already mentally styled for a Monaco client’s autumn gala before the model even exited the runway.
Next up: Schiaparelli. Daniel Roseberry delivered his signature brand of surrealism, blurring 1920s archival references with futuristic elements. I adored the oversized polka-dot gown, but it was the anatomical ‘beating heart’ necklace that set my messages alight. One awards season client messaged almost instantly: “Can you find out if it’s wearable or just runway?”
Repossi closed out the day with a high jewellery presentation in the Théâtre de Verdure gardens at Musée du Quai Branly. Diamonds on display, sushi on trays, champagne making the rounds. A quietly decadent end to an otherwise high-speed day.
Day 2: Tuesday
Tuesday belongs to Place Vendôme for haute joaillerie. I wore Toni Maticevski, a personal Aussie favorite, in oversized trousers and a slouchy bomber jacket, a cool contrast to Monday's sparkle.
First stop: Chanel at 11 AM to view Reach for the Stars, the golden-hour dream of transformable jewels, diamond wings, and comet motifs that caught light from every angle. The collection reinterpreted Gabrielle Chanel’s celestial codes with technical precision. One necklace converted into two bracelets and two short strands—a stylist’s dream and a collector’s obsession.
Isabel Bazzani
Isabel Bazzani
At 11:45, Buccellati delivered their signature old-world opulence. Alongside the intricate jewels, three archival bejewelled minaudières were on display, shown beside their original vintage counterparts. One of my Dubai clients messaged within seconds regarding the early 2000s model: “Is it for sale?” It was. Price tag? €100,000.
Chaumet followed just next door in the gold-gilded salons with Versailles vibes. The collection paired diamonds with vibrant coloured stones—florals, bees, and butterflies rendered in high jewellery. I filmed two dragonfly earrings for a New York client who replied: “I don’t need them, but maybe I need them.”
A late afternoon show for Ronald van der Kemp was next, who delivered his signature chaos-meets-craft energy of upcycled couture. I wrapped the day with a quick change for the Holiday Magazine soirée for a champagne nightcap.
Day 3: Wednesday
An early start at Théâtre du Châtelet meant one thing: Robert Wun was about to deliver drama. His “Becoming” collection unfolded like a cinematic memory, a gothic fantasy of veiled faces, wasp waists, and exaggerated hips, echoing the season’s fixation on hyper-femininity and body manipulation. Inspired by the intimate rituals of getting dressed, my own ritual that morning was a return to ‘90s power dressing. A pinstriped Vintage Versace Couture jumpsuit from the Fall/Winter 1998 runway with a Tom Ford-era Gucci Horsebit bag: a style we’ve seen re-emerge as fashion loops back on itself, courtesy of Resee.
Robert Wun Couture 2026
Robert Wun Couture 2026
At Cartier later that day, things got a little more exciting. The High Jewelry presented at The Ritz celebrated balance in all its forms: purity of line, harmony of colour, restraint in composition. Stones so large and vivid they bordered on surreal, almost too monumental to wear. So hard to choose a favourite, but if I absolutely had to, I’d say that the diamond and ruby necklace featuring Cartier’s signature panther clutching a sizable diamond felt particularly unforgettable.
Isabel Bazzani
Isabel Bazzani
With some time to spare a quick detour to Chanel Faubourg Saint-Honoré let me regroup. My SA Lisa had kindly prepped all the Métiers d’Art orders for clients in Monaco, New York, and Dubai. It’s my version of a calm moment: private meeting, AC, espresso, and triple-checking every piece that will be shipped the following day. I love this part of the job—making sure each extraordinary piece ends up with exactly where it belongs.
Isabel Bazzani
The day finished up with Viktor & Rolf. I always look forward to this show for their conceptual theatre and oversized outfits playing with volume, tulle, and exaggerated proportions. This season, each look came with a twin. The same garment shown side by side: one theatrically inflated with feathers and volume, the other deflated and bare, like its shadow. A clever play on excess and restraint, both styled (as always) with satin Louboutins.
Back at my desk, I triaged through WhatsApps and order confirmations, scheduling appointments, and following up on waitlists. Every detail, every comment, every request off the back on content and collections shared with clients this week is noted and put into motion.
Day 4: Thursday
The final day was slower on paper but no less intense behind the scenes. I wore a vintage Gaultier jacket with Pierre marly 1960s cocktail sunglasses, the very frames once favored by Jacqueline Onassis. I met a client at Le Meurice and, over green tea, we sifted through the week’s runway highlights, pairing each haute couture look with a future occasion and plotting which maisons to call first.
By midday, I arrived at the sunlit space of Fondation Cartier for the ArdAzAeii show. The Folded Sea collection unfolded in watery pleats, sun-rippled silks, and oceanic pastels, a tribute to the beauty and fragility of life beneath the surface.
Themes of nature continued across town at Boucheron, where the Impermanence collection interpreted fleeting botanical forms across 28 couture sets. A caterpillar and butterfly brooch, a cyclamen bracelet, and an oat-leaf headpiece together valued at €2.1 million, which took over 4,279 hours to create, each surface encrusted in diamonds. Who needs florals for spring when you have diamond leaves?
Couture Week may be a blur of bows, diamonds, and back-to-back appointments but behind every look, there’s a client waiting. And I’m already thinking about what they’ll wear next.
