The domed Chapelle Expiatoire tucked into a quiet square in the 8th arrondissement, built on the original burial site of Louis XVI and Marie-Antoinette, provided the mystical backdrop for Clara Daguin’s first couture presentation.

The 2016 Hyères finalist, who specializes in combining artisanal techniques with technology in a form of science fiction meets fashion, showcased a single creation. Dubbed “Atom” and worn by her sister Mélanie like a living installation, her dress — if that is what it can be called — undulated in time to the soundtrack, activated by sound thanks to the circuits worked into the fabric.

Like the rings of gas that surround certain planets, four gauzy halos oscillated and glimmered around a column dress completely covered in five kilograms of glass beads, mirrors and neopixels, a pattern like a double-helix flickering mysteriously.

The creation of the design necessitated 3,142 hours of handiwork by a team of 31 helpers. Even in fashion’s tech-driven future, craftsmanship has its place.

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