Oprah and Gayle King hobnob at Chloe’s boho blouse-focused Paris fashion show

PARIS (AP) — Oprah Winfrey settled into the front row beside her longtime friend Gayle King at Thursday’s Paris Fashion Week Chloé show, as the VIP guests hobnobbed before phone cameras were raised and the room leaned in.

It was the kind of celebrity moment that can swallow a ready-to-wear runway before the first look appears.

Designer Chemena Kamali made sure the clothes had the last word.

Inside a UNESCO conference hall, Kamali sent out a collection that praised “irregularities” and showed “human care” over machined perfection.

Her message, spelled out in a lengthy designer note, was direct: in a world that feels “mechanized and accelerated,” she wanted fashion to carry “humanity, empathy and devotion,” and to show the time, effort and care that sit inside a garment the way memory sits inside a person.

Folksy styles and contrasts

On the runway, that devotion translated into “folk” — a word Kamali returned to again and again — as craft, community and ritual rather than museum costume.

The opening look set the tone: a trapeze skirt, a long tailored jacket with graphic shoulders, and a folk blouse embroidered with small flowers.

It was Chloé’s signature bohemian ease, sharpened by structure: the romance kept its backbone.

Kamali’s best work came from friction — softness against strength, prairie sweetness against city armor.

There were long, fluid dresses, capes that wrapped the body in shelter, and delicately cut pieces that promised intimacy without slipping into fragility.

Then she undercut all that airiness with hard-edged details: leather trousers, oversized buckles, and a Western strain that felt less like dress-up than a stance.

Starry front row

The front row was like a roll call, including Olivia Rodrigo, Brooke Shields, Neneh Cherry, Mabel, Maude Apatow, Nina Dobrev, Paris Jackson, and more, with Winfrey drawing the brightest flashbulbs.

But the collection didn’t depend on the celebrity heat.

Kamali’s point was bigger than a moment: that luxury still means a human created the clothes stitch by stitch.

The season’s headline accessory was impossible to miss.

Through runway smoke, fur-lined leather thigh-high boots stomped into view — maximal, confrontational, and clearly designed for the street as much as for the photograph.

They gave the collection a pulse: the Chloé woman might be dreamy, Kamali seemed to say, yet she still wants traction.

And still, for all the boots and buckles, the emotional center was in the fabric and finish — the places where a brand can prove it means what it claims.

It’s the blouse, stupid

That idea landed best in the pieces that looked lived-in rather than styled: airy blouses and tops that felt handled, not manufactured; small embroideries that read as intimate; prints that carried a hint of the pastoral without turning saccharine.

It helped that Chloé, at its strongest, has always understood the power of a blouse — the ease of one perfect top that can remake a whole day.

Kamali’s folk blouses, with their stitched florals and fuller shapes, pushed that heritage forward with enough authority to feel current, even when the references leaned backward.