The hottest moments from Paris Fashion Week A/W 2025
Bonjour Paris! Fashion week has arrived.
Fashion's finest have arrived at the French capital—yes, Paris Fashion Week is back with its latest edition to answer the burning question, “What will everyone be wearing in 6 months?”. IFM Master of Arts opened the season on March 3, and Saint Laurent is set to close on March 11—which gives us nine fashion-frenzied days, with a total of 109 events, divided into 72 shows and 37 presentations. Though the rule of thumb is quality over quantity, in Paris we get quality AND quantity. Staples like Dior, Chanel, Balmain, and Hermes will be on display, and they’ll be joined by crowd favourites like Loewe, The Row, Miu Miu, and Schiaparelli.
At this highly anticipated final leg of a disappointing (so far) A/W 2025 season, major designer debuts are expected at Sarah Burton’s Givenchy, Haider Ackermann’s Tom Ford, and Julian Klausner’s Dries van Noten. Some questions still linger—will this be Maria Grazia Chiuri’s final collection for Dior? Will Jonathan Anderson, currently raising the bar at Loewe, be her successor? Expectations are at an all-time high and it remains to be seen if designers will deliver.
Below are the hottest moments from the fashion capital, so far.
March 4
Dior
If you thought you’d seen the best of Maria Grazia Chiuri at Dior, think again. The show was inspired by the Maison’s heritage, specifically Gianfranco Ferre’s era at the house. Not to mention the return of John Galliano’s famous J’adore Dior t-shirt, which felt like a savvy move for the house and quite on-theme with the audience’s love for all things Y2K. The collection felt both, effortlessly modern and Elizabethan with each look. Before the show started, a singular model sat alone on a swing that read “Once Upon a Time,” peering up to the ceiling in a high-neck frock with ruffly tulle. The runway was a square-shaped arena, with a series of high-tech imagery timed to perfectly contrast with the corporal collection—from a pterodactyl flying over the stage to meteorites falling from above, followed by fire, ice, and a waterfall of steam. Each look seemed to blend sensual femininity with androgynous flair in a play between flowing lace dresses topped with structural leather and velvet jackets. The thoughtful balance was a testament to the fact that each garment was fit for the contemporary Dior wearer. Models sauntered across the arena in cropped trousers and berets, almost always with a frilly, punctuated collar peaking out of the many different iterations of outerwear. If this collection was Chiuri's swansong, it was only fitting that she was at her best.
Alaia
This is the first time the Alaia show is officially part of the Paris Fashion Week calendar. “This collection began with thoughts of history, of geography, of sculpture, and always of women. They are all part of the clothes, within them”, read Pieter Mulier’s show notes. The pieces were otherworldly. With sculptural shapes, exaggerated sea-anemone-esque shoulders, and cocoon-like hoods, they brought an unplaceable, avant-garde sensibility without sacrificing the House’s body-conscious DNA. Metal tubing was woven into a jersey gown so that it followed every curve of a model’s body. Sinuous sheer turtlenecks were anchored by exaggerated silhouettes along with rolled-waist skirts. Movement was another hallmark of the show—from the off-centre pleats that leapt off skirts to a backless draped cutout gown. But running through all the headiness on display, there was a vein of practicality—even the mismatched shoes seemed approachable in Mulier’s world.
March 5
Couregges
At Couregges, we saw minimal clothing with maximal impact! Nicolas di Felice delivered a mindful and joyful collection filled with a multitude of scarves (some even doubled as tops), sheath dresses that concealed the arms, and reflective black eyewear. The models strutted around a ramp filled with confetti, wearing a palette of blacks, whites, reds, and pinks. The clothes can best be described as smart yet sexy. Cascading tops were wrapped at the neck, revealing delicate feminine curves, paired with clingy leggings. Oversized bomber jackets oozed with daring attitudes atop coloured mini dresses, while additional leather pieces arrived as slim-fit dresses fit for the club. Structured knitwear and trench coats walked confidently down the runway, bringing powerful contrast to the white-trimmed room. Feathered tops and chainmail sets reflected Courreges’ ethos. Each silhouette held the perfect balance of tailored and slouchy—it was effortlessly chic. Minds were blown, as was confetti.
The Row
It was a camera-free affair at The Row, as usual. Every model covered her face with hair, or her hair with a scarf. Coats were the main event, with collars pointing in and out. Knit sweaters were wrapped on top of other outerwear instead of being worn the traditional way. Belts were closed by seashells, and we saw some purse belts which have already made their way to my wishlist. Models walked without footwear and the plush carpet served as a runway. No ballet flats! No loafers! Certainly no jelly sandals! Since the official show images aren’t out yet, we’ll be updating this one soon.
Dries Van Noten
Set at the magical Palais Garnier, Julian Klausner actually credited some inspiration for this collection to the venue. If you thought winterwear was boring, think again. A floor-length wool coat with exposed and dangling stitches marked the opening look, followed by structured outerwear, capes, and silk tops in dim-lit hues. Dries Van Noten’s signature bold patterns were toned down in muted stripes, while refined and exotic leather belts pulled together minimalistic tailoring. Villainous coats and layered mini skirts arrived in a mash-up of prints and patterns, making it clear that Klausner won’t be forgetting the past while keeping his sights set on the future. Fuscia, green, blue, and purple brightened the collection. From a standard medley of black and white to rust hues, shimmery metallics, and even leopard print—this collection had it all. This is what I want to be wearing when winter comes.
Acne Studios
‘A dynamic juxtaposition of two worlds; an exercise in contrasts,’ is how Acne Studios describes its A/W 2025 womenswear collection. The show set was inspired by futuristic skylines yet deeply inspired by nature. The line was packed with suiting subversions, with outerwear and tailored formals donning soft, rounded, and dropped shoulders in a bid for casual days. Flowing dresses appeared more relaxed, while colourful knit vests had fun with enlarged bow ties streaming down the torso. Johansson was particularly inspired by the ’70s, twisting the era’s glam rock and disco styles for the modern day—with tight tops, loose bottoms and heart-shaped belts for proof. The shoes were purposefully proactive, with peep-toe and curling leather heels pumping in step alongside penny loafers-turned-boots. And this collection beckoned– who needs pants anymore? Bare it down, strip it off, and show some leg—even if it means you’ll be a tad chilly when fall comes.
Tom Ford
Many have been waiting to see Haider Ackermann’s first collection for Tom Ford— and he showcased a medley of ensembles that was well worth that wait, fusing desire, lightness, and modern beauty. Ackermann was able to reinterpret the codes of the legendary American designer by infusing a touch of sensuality, symbolised by joyful colours and pastel tones that illuminate the silhouettes while preserving the depth of neutrals like blacks and greys. The first lot of models sported looks reminiscent of the house’s late ’90s era—low-slung leather trousers, asymmetric leather jackets, wraparound sunglasses, and low-cut silk skirts. Slowly, the collection yielded to another motif familiar to Ford loyalists—his take on ’70s excess. His debut collection received a standing ovation from Tom Ford and Anna Wintour—is there any greater form of validation? The pieces were chic, sleek, and tailored with precision. Double-breasted suits, pinstripes, colourful blazers, so much patent leather, and overcoats worth dreaming of. It left the audience and the internet wanting more!
March 6
Chloe
In classic Chloe and Chemena Kamali fashion– the FW25 collection was boho chic stuff made of dreams! Lace, flowing fabrics, and dreamy silhouettes were topped off with overcoats with faux fur trims that complemented perfectly. Maxi dresses, maxi skirts, thick belts, and ballet flats! Let’s not forget the blouse; who knew Kamali could make the garment fit for younger audiences? A fusion of free-spirited fun, intensity, and painstaking craftsmanship, comprising romantic gowns that conjured vintage negligees, statement black leather frock coats, and airy blouses bolstered by shoulder pads. It was a range imbued with dynamism that reflected the many facets of the female experience. With its broad, hardware-laden belts, dangling shearling accents, floor-length trousers, and diaphanous lace gowns, the collection was quintessentially Chloe, but it displayed a distinctive confidence from Kamali.
Rabanne
Rabanne’s Julien Dossena delivered one of his best collections for the house. Riffing on the space-age heritage of the brand, known for its sequins and metallic embellishments, the designer played with textures, juxtaposing materials such as tweed, wool, and faux fur with silver sequins, tinsel, and more glittery accents. It was a lesson in how to wear sparkle without looking like a Christmas tree. A dress printed with pills and tablets was a fun and unexpected addition to the line-up. Pop star Chappell Roan sat front row at the show, clad in one of the label’s metallic confections. A ’60s-formal ladylike tweed coat, two coats worn on top of each other buttoned and belted in a way that reveals contrasting, long panelled skirts with flashy embroideries inside. The accessories added more edge with layered-up earrings, combat boots, chunky Mary Janes, sequin socks, and a new bag called “The Ring” with a pierced closure. It was a lot to take in, and a bit tricky to wear, but at least Dossena dared to reflect on it.
Rick Owens
Slouchy boots, boxy black overcoats, large turned-out collars, faux fur trims, lots of leather, and the occasional pop of white and grey. Owens stayed true to his aesthetic with a collection named Concordians, after Concordia, the small Italian town where the factory that makes his clothes is located, and that he and his team have been travelling to for 22 years. Broad-shouldered jackets, leather separates, a smattering of denim, and some beautiful dresses made of shredded rubber that looked like fringe were impactful. The priest-like gowns that closed the show were exemplary of Owens’ incredible evening gown tailoring skills. The designer returned to his simplest form to provide leather flight jackets dramatised with round shoulders and exaggerated collars. Asymmetrical outerwear was crafted from opulent wool fitted with silver hardware, while deconstructed gowns revealed pockets of skin with slashed indentions. We witnessed fresh draping techniques and shaped glistening fall into sinister floor-length gowns made to stop you in your tracks.
Schiaparelli
Yee haw! Daniel Rosenberry brought his Texan roots to Paris with his maximalist ‘80s-inspired cowboy-themed take for FW25. There was glitz, glam, and so much Schiaparelli style. Denim, leather, fringe, giant belt buckles, gold everything– it’s no surprise the show notes referred to the collection as ‘Lone Star’. As if that wasn’t enough– Gigi Hadid opened the show, and stole the show with a singular wink at the audience. With Laney Wilson’s Good Horses and other country songs as the backdrop, the show featured iconic Western elements such as cowboy boots and excessive bling metal hardware. The Southern references didn’t keep Roseberry from delivering the heavy dose of glamour that Schiaparelli is synonymous with. The Texas that Roseberry conjured was a place of rodeos and ranches but also the flamboyant state depicted in ‘80s hit TV show Dallas.
Isabel Marant
So sexy, so chic, so smart! Isabel Marant’s FW25 collection is proof that junk is back and it’s all over the runways in Paris, where creative director Kim Bekker took the lead. Bekker found inspiration in women who had their own fearless style–all filtered through the ’80s-’90s rock-‘n’-roll mash-up of punk, grunge, and a bit of new romantic that was heavy on layering and tailoring, mini skirts and dresses, leather, hardware, and brooches. There was snatched tailoring–pin-striped power shoulder blazers and layered waistcoats, itty bitty pin-striped micro shorts, and respectable trouser shorts. Rock-‘n’-roll leathers came in many forms, including buckled minis, a great pullover, and a trenchcoat with silver grommet and piercing hardware details. Punk plaids, fuzzy sweaters, sheer mesh tops and polka dots also made appearances, along with a couple of ‘80s va-va-voom very tight and short cocktail dresses. The collection was loaded up with so many accessories, including lace and fishnet tights, belts, bags, scarves, safety pins and studs. There was nothing quiet about punk.
March 7
Givenchy
Sarah Burton’s Givenchy was a love letter to women. Her exploration of the label’s archive quickly zeroed in on a stash of patterns and fabric swatches from Hubert de Givenchy’s first collection from 1952. Inexplicably, the pieces were hidden away inside a wall in the designer’s first atelier, and unearthed only a year ago. Each piece signalled a deep connection between the French designer and the women he dressed. Burton nailed her debut with an exhilarating display of new silhouettes, including dramatic hourglass coats and jackets, geometric babydolls, and austere gowns whereby a triangle or square of leather descends from the throat. The clothes were immediately desirable—sometimes young and zesty, but most often the pinnacle of adult sophistication. With spiraling seams on sleeves and pant legs, Burton brought a new attitude to tailoring, her forte. She also bared waists, backs, and legs, bringing a simmering sensuality to the display. Embellishments were kept to a minimum—a giant pearl earring here, some feathery mules there. It’s safe to say: Sarah Burton already feels like a master at this house.
Issey Miyake
Issey Miyake returned with an elaborate display of interactive womenswear. This collection used the body as an art form, presenting an intricate 50-look collection that many called its best in a decade. Centred around concepts like “abstract concrete” and “body object”, lead designer Satoshi Kondo finds peace in inexactness. Guests were greeted with sculptures of all shapes and sizes as they entered the show venue. Ribbed knitwear was delicately placed on cement blocks. Flowing dancers took to the main floor, and began undressing to reveal fresh Issey Miyake gear worn “incorrectly.” Models walked the runway with their hands tucked inside sleeved dresses with ribbed printing, while others sported asymmetrical garments with leftover hip placements. Oversized blazers were layered atop misshapen shirts with dangling arms and pulled collars, followed by puffed tees worn beneath their shrunken counterparts. Jumbo-sized scarves and sweater vests came in bold primary hues. The final ten looks completely stole the show, presenting ballooning fabrics in striped teal, larger-than-life outerwear, and flowing coats matched with knitted top hats.
Giambattista Valli
Giambattista Valli’s F/W25 collection was all about zen. “I wanted something very harmonious, very peaceful, like a caress to the soul,” said Valli, reacting to global chaos not with punk agitation, but with a peaceful, easy feeling. Inspired by the softer side of the turbulent ’60s, the collection was soft—contrasting the era’s sharp modernist and globe-trotting bohemian tendencies. It was less woman in a gilded cage, and more woman out in the world. The peaceful feeling extended to the runway show pacing, which was a bit slow. As for the clothes, elegance but comfort was Valli’s personal dictum—out with the extreme volumes, feathers, and embroideries, and in with a white scattered tweed tunic and flared pants set for hosting at home perhaps; long gilet and trousers tailoring; a Jane Birkin style black and white lace minidress but grounded with a T-shirt and flat shoes, and a fluid sheer ivory crochet maxidress.
March 8
Vivienne Westwood
Vivienne Westwood captivated audiences with a collection that encouraged ambition and grand aspirations, symbolised by the lucky number 19. Soft piano melodies reverberated throughout the venue as 56 ensembles made their way down an elevated runway. The atmosphere was imbued with warmth and admiration as Kronthaler continued to honour his late partner, delivering sensual tailoring and striking plaid designs while incorporating his own perspective through heavy winter coats, shimmering hoods, and leather tracksuits. “There’s nothing more alluring than a suit!” proclaimed the show notes. Westwood’s signature tailoring was both exaggerated and refined, transforming slouchy trousers into asymmetric wool skirts and extending neckties to floor length. Hats were stacked in complementary tones, accenting dramatic trench coats, speckled knitwear, and opulent fur ponchos. Delicate velvet and tulle dresses sculpted the silhouette, enhanced by rounded hip and shoulder padding. Contrasting socks, furry heels, and birdcage handbags injected an air of whimsy and nonchalance. The designer took his final bow with a bouquet in hand, tossing flowers into the audience in celebration.
Hermès
Hermès embraced its love for leather with a collection that explored the essentials of an opulent wardrobe, aligning with the brand’s positioning as a dominant force in ready-to-wear fashion. Vanhée aimed to replicate the prestige of an Hermès bag as the ultimate accessory in clothing—reimagining the quintessential equestrian jacket, bomber, trousers, and shorts, alongside statement blanket coats, denim jackets, tailored trousers, and figure-hugging dresses. The show took place at the Garde Républicaine, where a peat moss-covered floor set the stage. Models strode through a maze-like runway at a brisk pace, exuding an air of confidence as if they had important places to be. A sleek glove lambskin leather shirt paired with matching trousers exuded understated elegance, while a cropped, backless cashmere top with elongated fingerless gloves offered a fresh take on the twinset. Leather-infused denim created a sculpted silhouette, and a cypress green dress with brogue-style leather inlays added just the right touch of eccentricity. The ultra-compact Petit Sac, scarcely larger than a coin purse, made multiple appearances, while equestrian boots and high-heeled brogues completed the ensembles.
Elie Saab
What does the Elie Saab woman wear on the slopes? Sleek silhouettes, sherpa hats, and eye-catching fluorescent faux fur chubbies embodied a vision of high-altitude glamour. The Lebanese designer’s latest collection leaned into ski-inspired aesthetics, reimagining technical apparel as slim-fit trousers, ribbed high-necked bibs, zipped jumpsuits, and contoured jackets. Outerwear took centre stage—a sleeveless faux fur stole skimmed the floor, complete with exterior pockets, adding an extra layer of indulgence. Saab seamlessly integrated his signature eveningwear—sequinned midi skirts and full-length brocade gowns— with chunky knits, striking a perfect balance between luxury and playfulness. Dubbed "sports luxe," the collection channelled a refined yet relaxed chalet chic aesthetic for autumn.
Comme des Garçons
Rei Kawakubo’s sculptural creations for Comme des Garçons evoked a fusion of La Belle Époque and an otherworldly aesthetic. Her latest collection revealed her unparalleled talent for colour play, fabric juxtaposition, and the reimagining of femininity, resilience, and optimism through dramatic, unconventional silhouettes. Nothing about the ensembles was understated—each piece was structured, voluminous, and meticulously detailed. The collection opened with an undulating navy pinstripe suit, seemingly subverting corporate uniformity by merging business attire with avant-garde theatrics. It resembled a power suit that had engulfed an entire orchestra. This cubist tailoring continued with ensembles in houndstooth, checks, and grey flannel, including exaggerated trousers with crater-like voids replacing traditional pockets. Pinstripes reappeared in unexpected ways—a waistcoat billowed outward thanks to densely packed white ruffles, while a dress was adorned with cascading wadding-backed fabric strips. The latter part of the show introduced vibrant tartans, rich satins, and sumptuous velvets, embellished with ruffles, bows, and silk flowers in a spectacularly chaotic yet cohesive display. The result? A mesmerising collision of structure and spontaneity, exemplifying Kawakubo’s masterful artistry.
Valentino
For his second ready-to-wear show at Valentino, Alessandro Michele crafted an immersive experience, having models step out from cubicle doors into a vast, red-lit public restroom. He described this setting as a “dystopian, unsettling, Lynchian space” in his show notes. Naturally, guests gravitated toward the mirrors—either to snap a quick selfie or to take in their reflections. The collection examined the interplay between intimacy and self-presentation through fashion, with an undercurrent of provocative dressing. Models emerged in various states of undress, from lace bodysuits left open at the crotch—subtly revealing nude tights beneath—to dramatic all-black ensembles, including an exquisite velvet column dress with plunging front and back necklines. While moments of stark minimalism were present, Michele remained true to his signature maximalist approach, channeling opulence as a core element of Valentino’s identity.
Balenciaga
Demna reimagined the power-dressing archetype with his Fall collection, envisioning a high-heeled, sharply tailored "sexy secretary" look—denim pencil skirts paired with structured white shirts featuring corseted backs. For braving cooler weather on the way to a coffee run, a fitted pink puffer with bustier details and an oversized fuzzy hood provided a striking outerwear option. The menswear lineup ranged from impeccably tailored suits to deliberately distressed and wrinkled pieces, evoking the look of jet-set exhaustion. This season also saw the introduction of ultra-flat Speedcat sneakers in well-worn suede, a Puma collaboration that was a notable departure from Balenciaga’s typically exaggerated footwear silhouettes. Demna titled the collection “Standard,” highlighting his approach of twisting everyday essentials into high-fashion statements—logo tees were slashed into barely-there gym tops, while oversized hoodies transformed into flowing, monastic-like robes. Although tracksuits and activewear maintained his signature aesthetic, they were scaled down, making them more wearable. Reflecting on the collection, Demna acknowledged a shift toward a sleeker, sexier sensibility—an evolution that began last season.
Coperni
Coperni designers Sébastien Meyer and Arnaud Vaillant transported their audience to the newly built Adidas Arena on the outskirts of Paris, where they staged an unexpected fusion of fashion and gaming culture. The show paid tribute to the nostalgia of early internet LAN parties—events where gamers would gather for all-night sessions, fueled by energy drinks and camaraderie. Set among 200 gamers, with spectators including rapper Ice Spice, the models wove through the space in looks inspired by hacker aesthetics and digital-era icons. Schoolgirl-inspired sailor dresses nodded to anime culture, while thigh belts evoked the adventurous spirit of Lara Croft. The collection featured zip-up leather jackets styled with mini skirts and knee-high socks, all paired with the brand’s new Five-Toes sneaker. Beyond the tech-infused themes, there were plenty of sleek eveningwear options, highlighting Coperni’s ability to balance casual and refined aesthetics. This season’s collaborations leaned into nostalgia, including a Tamagotchi-embedded version of their signature Swipe bag and a limited-edition Ray-Ban Meta partnership featuring connected Wayfarer sunglasses. As the finale played out, professional and amateur gamers from the French esports team Gentle Mates remained glued to their screens—proof that, even in the middle of a fashion spectacle, the game always comes first.
March 10
Loewe
A day before unveiling Loewe’s Fall collection, Jonathan Anderson shared a dynamic two-and-a-half-minute video montage on his Instagram, capturing key moments from his 11-year tenure as creative director. Naturally, this only fueled ongoing speculation about his potential departure—hough no official announcement has been made. Within the fashion industry, whispers about his next move and possible successors are already widespread. This season’s collection leaned into a still-life presentation, complementing its sculptural approach: think windblown peacoats crafted from molded leather, trapeze-cut field jackets, and baseball tees transformed into caped silhouettes with oversized raglan sleeves—just for menswear. Meanwhile, softer elements appeared in tartan mohair coats with scarf-like sleeves and knitted suits adorned with striped lapels, reminiscent of David Hockney’s aesthetic. Womenswear featured structured leather coats with cotton bib fronts, draped jersey gowns, and striking cocktail dresses designed with cascading strands of beaded organza, resembling fiber-optic cables. The craftsmanship was extraordinary—printed cellophane, finely cut into fringe, layered over a houndstooth coat to create a shimmering, three-dimensional effect. Both Loewe and Anderson, it seems, are in motion.
Sacai
For the Fall/Winter 2025 collection, Chitose Abe explored modern femininity through the lens of today’s ever-changing landscape. With sensitivity at the forefront, she reflected on the current social climate while redefining Sacai’s signature hybrid silhouettes. This season saw traditional styles reimagined with fresh, unexpected twists, offering a bold yet wearable evolution of femininity. Classic wool blazers were enhanced with built-in scarves—left to drape freely or stylishly thrown over one shoulder—while structured button-downs seamlessly transitioned into corset-detailed skirts. Hooded knitwear paired with tailored cargo pants, accentuated by reflective embellishments, exuded a utilitarian edge. Meanwhile, plush textures transformed into sculptural ruffled dresses, designed for women who move with confidence and strength.
Louis Vuitton
Train stations evoke a spectrum of emotions—heartfelt reunions, difficult farewells, routine commutes, and, for the fortunate few, the luxury of the Orient Express. Nicolas Ghesquière tapped into these narratives for Louis Vuitton’s Fall collection, blending cinematic references (Agatha Christie mysteries included) with a lively mix of characters embarking on their own journeys. Among them were yoga instructors, private detectives, outdoor adventurers, and late-night revelers—each dressed to embody their unique story. Rumors swirled that Vuitton’s show would take place at Gare du Nord or even aboard a train, but instead, it unfolded in the courtyard of an old railway office near the station. The setting—a stark contrast to the fantasy of a luxury voyage—featured hard seats, cold lighting, and digital screens depicting travellers in motion. The collection itself reflected this eclectic spirit: pinstriped shirts extended into jumpsuits with album art prints, ruched velvet skirts, oversized New Wave sweaters, and an array of technical outerwear. Some looks appeared deliberately thrown together, as if their wearers had dressed in a hurry. Yet, amidst the chaos, fluid silhouettes stood out—sheer trench coats, floral slip dresses, and draped velvet gowns. Unexpected details added intrigue, from buffalo plaid blankets repurposed as dresses to models carrying vintage-style hat boxes and vanity cases. Ghesquière’s vision transformed the everyday bustle of train stations into a compelling fashion narrative.
March 11
Chanel
Chanel’s in-house team delivered an unexpectedly impressive collection, despite the absence of a creative director. To clarify, this was not Matthieu Blazy’s debut—his first collection as creative director is set for October. The show embraced sheer fabrics, layered styling, and an abundance of pearls, staying true to the brand’s signature codes while still feeling revitalised. The collection followed a well-defined theme, unfolding from the satin bow included with the show invitation to the striking black ribbon structure spiraling toward the ceiling of the Grand Palais. Satin ribbon edged an anthracite tweed military-inspired jacket, while delicate bows cinched the voluminous sleeves of a sheer black organza tunic. Dresses adorned with a fluttering ribbon motif traced Chanel’s iconic interlocking C’s, while bold bow-shaped cutouts, framed in pearls, decorated a black sweater and skirt. While some elements felt familiar, new layering techniques brought a fresh perspective. Sheer tulle overlays created an ethereal effect on tweed ensembles, including a pink short-sleeved jacket and shorts, layered beneath a sheer, ankle-length skirt. The collection also played with tonal layering– monochrome textures stacked for a surrealist impact. A striking cherry red tweed appeared across multiple pieces, from jackets and skirts to flared trousers, even extending to coordinated accessories like a boater hat, gloves, handbag, and boots. Statement-making pearls made an impact too, transforming into heel details on boots likely to become collector’s favorites. Among standout attendees were Snehal and Jyoti Babani, the stylish Indian sisters known for their coordinated looks, who seemed perfectly suited to a duo of reversed monochrome twinsets.
Miu Miu
The Miu Miu girl has grown up—this season, she’s a lady. Gigi Hadid walked the runway in a bucket hat, a tailored gray overcoat, knee-high socks, and polished loafers. Miuccia Prada introduced a new character to her lineup: a retro-inspired, ultra-feminine woman with beauty salon-styled hair, brooches, and the dramatic bullet bras of the 1950s, emphasising an exaggerated bust and hourglass shape. Though once revived in the 1980s by icons like Madonna and Jean Paul Gaultier, their return now is striking, especially amid ongoing debates about women’s rights. However, there’s been a growing interest in vintage femininity— from midi skirts and skirt suits to clip-on earrings and the rise of the "tradwife" aesthetic. “We need femininity in these difficult times to uplift us,” Prada remarked backstage. The collection featured slinky satin slip dresses with straps falling off the shoulders, sharp pencil skirts, fitted sweaters, and fur stoles with pocketed hand warmers. Knee-high socks paired with pointed heels completed the ladylike aesthetic, all rendered in Prada’s signature unconventional color palette—think mustard, ultraviolet, apricot, acid green, powder pink, and camel. Alongside these vintage influences, Prada incorporated some contemporary Miu Miu staples, such as worn-in leather jackets, sporty zippered pullovers, and effortlessly chic tracksuits stacked with gold bracelets. Accessories were equally captivating, including cloche hats, new buckled sneakers, and crystal-embellished socks—bridging past and present in a way that felt nostalgic yet undeniably relevant.
Saint Laurent
Anthony Vaccarello cemented his reputation as a master of sharp, confident silhouettes with his FW25 collection. Saint Laurent commanded attention with a dazzling, star-studded showcase beneath the Eiffel Tower, setting the stage for a lineup that embodied power and sophistication. The venue’s digital walls projected rich brown marble textures, enhancing the collection’s luxurious appeal. Models strutted down the runway in structured, strong-shouldered looks drenched in bold primary hues. Ribboned dresses featured dramatic high collars, paired effortlessly with pointed stilettos. Leopard-print glossy tops made a statement alongside classic pencil skirts and oversized sunglasses, exuding an air of timeless glamour. Vaccarello allowed the craftsmanship to take center stage, experimenting with textured materials– plastic-like fabrics carried fading floral graphics, while bomber jackets retained broad, angular shoulders for a rebellious edge. The final looks were nothing short of show-stopping: delicate lace dresses reimagined with sculptural hip inserts, creating a striking illusion that redefined the natural silhouette. And, of course, the grand finale saw Bella Hadid closing out Paris Fashion Week—très magnifique.
Feature image: Dior, Giambattista Valli, Elie Saab, Vivienne Westwood
Also read: Fashion month 2024 is officially over—and these are the top trends for the coming year
