The best shows at Paris Fashion Week

What?

The brand celebrated its 10^th anniversary with a sprawling, grown-up affair – still anarchic, of course, but with an injection of everyday garments for the woman who loves to make a scene outside the club.

Where?

Inside a run-down, multi-storey building with plain decor, which felt all the more powerful as a backdrop for the disruptive Vaquera universe.

What was the collection like?

Not many indie New York brands can say they’ve made it to 10 years in the biz, even when they stage a regular, highly anticipated show every Paris Fashion Week. For Bryn Taubensee and Patric DiCaprio, the duo behind Vaquera, this isn’t only testament to their hard work and understanding of their customer, but also a sign of good business acumen and their ability to shift with an ever-evolving industry.

It might have been hosted inside a derelict space in Paris’s 15^th arrondissement, but the show still had a distinct NYC allure. For starters, two of the models were designer DJ Chappel and creative director Ryan Cardoso, the minds behind Dauan Jacari, the brand that’s fashioning the spiral skirts currently dominating New York, and counts Chloë Sevigny and Charli xcx as fans.

The collection was rife with bulbous, head-turning skirts and ogle-worthy T‑shirts boasting cone bras, some in lace, others layered over shirts. Subversive elements still held the designs hostage, but the designers reconfigured ready-to-wear pieces to focus on American sportswear: emblem-ridden cycling vests and gloves were decorated with the word ​“Beauty”. There were trucker caps that said ​“VAQ”, oversized T‑shirts and striped shirts layered underneath ruffled negligees, while cropped bomber jackets and denim capris complimented one another. A homage to Hermès came towards the end of the show, with its signature scarf print emblazoned across voluminous dresses and a bonnet.

Were there any firsts?

Yes! The show marked Bryn and Patric’s first foray into footwear, with the inclusion of heels that replicated cowboy boots via kitten heel pumps and knee-high boots.

A collaboration with Onitsuka Tiger also popped up, featuring a Mexico 66 trainer with ​“Love” and ​“Rage” written on the tongue. Wrap-around and oversized square sunglasses further amplified the slick red gloss on each model’s lips. And, finally, a debut jewellery line of charms were intertwined with a rose. Phwoar.

How are the pair celebrating the big 10?

​“We’re moving to Paris next year!” the pair told us minutes after the show ended.

What?

Ellen Hodakova Larrson, the recent recipient of the LVMH Prize, had a scaled-up show in lieu of her typically intimate offerings.

Where?

Inside the Musée Rodin, a stone’s throw from The Ritz. Ellen follows in the footsteps of the legacy houses that have previously shown in the space, including Vivienne Westwood by Andreas Kronthaler.

The vibe?

What can only be described as an uncomfortable ball of fur pulsated on a screen, which would later serve as a projection for the show. A button rolling between someone’s wrists came next, as the audience waited for the show to begin.

Look one comprised of an upward, circular dress imitating the waistline on trousers – belt and all. Renowned for her ability to conjure up thought-provoking garments from dead stock, the Swedish designer left spectators in awe as a sleeveless dress fabricated from belt loops followed. The adage ​“one man’s trash is another man’s treasure” rings true in Ellen’s realm.

Knotted belts on the hemline of skirts made a cameo and a dress made of belts wowed guests – not to mention boots with the underside of the toe flipped and attached to the top of the shoe. Wearable art in the form of a tubular dress cascaded down the body, gradually expanding with a wooden frame affixed. Woven belt dresses also came as skirts in tan and white colourways, while buttons found a home on cheeky mini and midi dresses. Elsewhere, the fashion crowd was hushed into silence by a wildly impressive zipper dress and a skirt in metallic hues.

What will the It-Girls be wearing?

It’s hard to choose just one item with a collection like this. The boxy woven bags, the button dresses your Grandma wishes she could sew, the flip-flop heels and woven garments will all be hot commodities.

In three words?

Ingenious, refreshing and inimitable.

What?

The young designer and Riccardo Tisci protégé’s Paris debut.

Where?

Inside the sizable Espace Niemeyer, named after the renowned Brazilian architect.

Explain the collection…

Luis, who has dressed Beyoncé, Cardi B and Rosalía, announced his SS24 ​“La Ruta” collection in LA back in October.

Club-rat-meets-genderless-muse encapsulated the show’s vibe. In Luis’ futuristic, mind-bending world, latex meshes with spikes and horns on spandex. The monochrome ready-to-wear line featured boleros with cone detailing paired with suit trousers and a teasing lace thong. Speaking of lace, the material was a large part of the collection, woven into gleaming biker gloves, used for stockings that were coupled with super-short shorts and draped over a model who served as the Luis de Javier bride.

The silhouettes were largely derived from the designer’s affinity for 1940s Balenciaga, and so there was a covert leaning towards haute couture finishes. Exaggerated shoulders on blazers featured silver embellishments, while a stunningly draped dress incorporated tubular detailing that twisted around the arm. British model Georgia Palmer closed the show sans eyebrows, wearing a full white get-up, which revealed a stomach that had been disfigured with small horns – much like the ones featured in Luis’ SS24 show.

What was the glam like?

The goal, according to the team, was to create ​“AI-like characters”. This involved thick, blocky black eyeliner and silver jewellery on the nose bridge.

What?

Artistic director Nicolas Di Felice kicked off the third day of PFW with unfiltered glamour and unmatched levels of chic, showcasing a line that made you want to go out and seduce every stranger in sight.

What was the collection like, then?

At first glance, there appeared to be a circular body of water inside the white space. But upon closer inspection, it turned out to be lots of tiny silver balls that mimicked the sound of pelting rain – no doubt familiar to the guests who were subjected to a brutal downpour just before the show.

The first to stomp out was a model wearing a hooded, leather all-in-one situation, with arm slits that the model in question was too cool to actually use. Next came the thumping sound of Underworld’s Born Slippy (which had also been a favourite in Milan) and Irina Shayk, hand in pocket, strutting out in a slate-grey crop top and trousers, with a small top handle bag slung over her shoulder. Anok Yai wore a barely-there bandeau with an asymmetric skirt, while Petra Collins retired the camera for the morning to storm down the runway in a deep-plunging, black dress with one sleeve.

Who was on the front row?

Brooklyn Beckham and Nicola Peltz were all smiles, and comedian Ziwe also made an appearance. Hot on the heels of his Milan SS25 Diesel show, Glenn Martens and the creative director of Rabanne, Julien Dossena, were posted up, too.

What?

A lesson in putting your best face forward from creative director Olivier Rousteing.

What were the clothes like?

Classic Balmain – that is, hyper-glam and designed with the high-flying power dresser in mind. Vampiric shoulder pads dominated silhouettes on blazers and mini dresses, like a supersized throwback to Olivier’s early collections at the house. Padding was also a prominent feature on mini skirts, jolting out of hips to give models geometric hourglass curves, nipped in by enormous gold belts. As for the colour palette, have a dig in your mum’s make-up bag: monochromatic ensembles embellished with pearls mimicked a high-end compact, while shades of blush, rose and crimson reminded us of the sloppy kisses you used to wriggle away from as a kid.

Olivier saved the best till last, though. The highlights of the collection were undoubtedly the intricately beaded gowns and mini dresses, each painstakingly embellished to reveal almost photo-real images of faces, immaculately polished nails and plump red lips. Mwah.

Who was there?

Cardi B courted the paparazzi in a green, floor-length fur coat and Candice Swanepoel was right on theme in head-to-toe red.

What?

Jonathan Anderson, master designer at Loewe, has had an eventful few weeks. On top of celebrating his 40^th birthday, he’s also been gearing up for the release of Queer, starring Daniel Craig and Drew Starkey, for which he designed the wardrobe – his latest collab with Luca Guadagnino following Challengers. All that and he’s managed to craft another stellar collection for Loewe. When does the man sleep?

Where?

Inside the historic Esplanade Saint-Louis, one of the city’s most picturesque grounds. It’s been the Loewe show’s home for yonks now.

The collection?

Ethereal, billowing dresses constructed with wire frames that effortlessly glided down the runway. Delicate, transparent printed dresses breezed past so quickly you could blink and miss them; some were strapless, while others boasted ruffled sleeves or a bodice that was slim and fit close to the body.

Elsewhere, gleaming dresses came in orange, midnight and pearlescent shades, all of which caught the light. Another sight to behold: exquisite feathered tops and bloomers, the latter of which were worn by model of the moment Mona Tougaard. Leather capes with zips were paired with cropped camo trousers; impressive trench coats bore slanted hemlines. As for the shoes, there were shiny lace-up loafers featuring Jonathan’s signature rounded square toe, as well as trainers slapped with ​“L” emblems.

To put it simply: this was a collection that had everyone yapping about the brilliance of Jonathan and his craft. No change there, then.

Go one, give us some celebs.

As usual, the Loewe show had a star-studded turn out. Daniel Craig and Drew Starkey turned up to support Jonathan, alongside his muse (and FACE cover star) Taylor Russell. We also spotted Ayo Edebiri, Emily Ratajkowski, Sophie Wilde, Jeff Goldblum among quite a few others. Boy, do the A‑listers love Loewe.

What will everyone be wearing next spring?

Aside from the jellyfish dresses, we have our eyes on the delicious leather jackets with upturned hems.

What?

Multi-disciplinary artist and archer Sagg Napoli shot at a painted target while Maria Grazia Chiuri’s athletic muses took to the runway.

And the collection?

Chiuri, who designed outfits for athletes at the Paris Olympics – a project which took about a year, btw – couldn’t get the concept of competition out of her mind, it seemed.

An amalgam of luxe athleisure and Grecian references, the collection oscillated between beautifully draped column gowns and figure-hugging bodysuits, as hybrid trainer-boots were complemented by panelled track jackets and trousers emblazoned with the Dior motif.

This season, Chiuri decided to go against the grain and sidestep the sequins, balloon hems and adornments we’ve become accustomed to at Dior.

Crossbody bags, together with multi-buckle garments, toughened up her ready-to-wear offering, while glittering wrap skirts and fringing erred on the right side of grandeur.

Who attended the show?

Global ambassador (and FACE cover star) Rosalía, who had a grand old time celebrating her 32^nd birthday in Paris last week. She turned up in a waist-snatching skirt suit, leather gloves and pointed pumps. Rosamund Pike, Anya Taylor-Joy and Natalie Portman also joined the FROW ranks.

What?

The label’s first outing sans Dries at the helm.

Where?

Inside an old telephone exchange in the ninth arrondissement – an imposing 1920s municipal building primed with a gothic clock and doors. Classic, just like Dries.

The mood on the ground?

A little nervy. While Dries is still tethered to the brand in some capacity, his departure left a lot of Dries-ophiles heartbroken. This season, the collection was left largely in the hands of his atelier, a sturdy design outfit working out of Antwerp. At the time of writing, the maison is still yet to announce a creative successor. Keep your ear to the ground, people.

The verdict?

As is usually the case with interim collections, this was less an all-out reset and more of a crystallisation of the codes that have come to define Dries’ singular vision. Here, floral brocades and a ritzy pantone of jade greens, ballet-pump pinks and jasmine yellows held fort, paying homage to the Belgian designer’s reputation for being one of fashion’s best colourists.

Kicking things off: a snakeskin-effect overcoat was paired with a cutesy, matching leather mini-bag which was studded along the strap. This was followed up by a rounded sweetheart-neckline midi in that same sequin detailing, flexing the atelier’s crafty nous. Elsewhere, more serpentine prints piped the folds of a classic mac.

Where Dries’ final collection – his swansong – seemed to encapsulate everything he’d achieved as a menswear designer, leaning into the airy silhouettes that first made his name in 1986, this collection was attuned more to the Dries woman. As such, his renowned love affair with gardening made itself apparent via lily-stained PVC skirts and trenches, as well as blotted, lapel-free tailoring. Less immediate, but by no means less crucial, were the pinhead and beaded details that decorated bags and skirts.

The takeaway?

If the studio team sticks around, the house is in good hands.

What?

Chemena Kamali’s second (not including mid-season) collection for the house.

So, the verdict?

If you thought boho chic was over, think again. It’s no exaggeration to call Chemena’s work a litmus test for the zeitgeist: her whimsical take on womanhood has already started cropping up on the trendy streets of De Beauvoir in East London, not least the Left Bank, where it was first born under Karl Lagerfeld’s 1970s tenure at the brand.

To describe a collection as a mood or a feeling – as Chemena does in her show notes – can often mean a lack of coherence. Here, however, there was a palpable sense of ease, manifested in the Parisian techniques of frou-frou, or, in layman’s terms, flounce and frills. In lieu of sharp lines, Chemena’s vision relied on traditional womenswear design, allowing fabrics to fall and hang naturally, rather than cajoling them in tight, tailored lines.

Arguably, the brand is now the most defined it has been since Phoebe Philo was at the helm between 2001 and 2006. As a designer, Chemena has proven herself to be a living, breathing Chloé girl, attuned to the brand’s aesthetic and able to reinvigorate its look for a new generation who want to get that hard-to-define-but-easy-to-recognise French girl look.

In three words?

Light, ethereal, effortless.

What?

A luxe-ified take on LA subculture.

First impressions?

Moroccan-Parisian designer Charaf Tajer went all out, airing his collection among a line-up of custom cars typical to the Chicano lowrider scene. With garish paint jobs and hydraulic suspension, they set the tone for the clothing, which reworked styles native to Compton, Venice Beach and beyond.

So, what went down?

Charaf laid the groundwork with blocky, double-breasted suits and striped shirting – a nod to young Mexican-Americans of the 1930s. From there, the collection evolved into sartorial apes of Dickies work pants, finished with web belts and baseball shirts embroidered with graffiti.

Elsewhere, suits were cropped across the midriff and teamed with bandana-wrapped mini bags. Embossed sliders were styled with long shorts and tube socks, before satin bombers in multi-tone hues and glitzy shirts made for satisfyingly high-low ensembles.

In a nutshell?

Charaf has a unique ability to hone in on particular places and scenes – be it the terracotta-dusted lands of Morocco, the ebullience of contemporary Lagos or the glamour of Miami – in order to achieve authentic cultural nuance. The results are convincing.

Where was it?

Parc Floral, a botanical garden in the 12^th Arrondissement – ideal for a collection that was all to do with nature.

What went down?

Departing from age-old garment construction techniques, Satoshi Kondo named this collection The Beauty of Paper. ​“Washi” – a plant-based paper native to Japan – served as the through line, fabricating airy silhouettes that appeared well-constructed yet fragile to the touch. The revival of this dying craft came via Mac overcoats, as well an hourglass kimono blazer folded on the shoulder seams for another blink-and-you’ll-miss-it technicality.

Such design development is typical of a brand that has long relied on stringent minimalism as a practice to bring out ingenious sartorial solutions. This was especially apparent in soaked-through-effect dresses, where models were shrouded and robed – as opposed to swaddled – in undulating, glossy sheets. From the front, there were no clear clues as to how this drapery was fashioned into existence. Turns out the design team had carefully fixed the waves from inside the dress, creating an optical illusion that appeared effortless.

Plissé techniques – the brand’s iconic pleating – were naturally present, this time via dresses put together in a mishmash of directions. Despite it being two years without Issey himself – the late founder passed away in 2022 at the age of 84 – the brand, it seems, has plenty more to give.

In a few words?

Earth, wind – and fire clothes.

What?

A cool continuation of Yohji’s life mission to find beauty in imperfection. Wabi-sabi at its best.

Where?

The Japanese designer returned to Salons de l’Hotel De Ville, Paris’ 14^th-century city hall.

What?

This season, the dark master leant into a more contemporary silhouette, keeping hemlines shorter and Victoriana touches a little more subdued. Throughout, his deconstructed approach manifested via wispy, black (shocking, we know) sheaths that were hemmed to reveal shards of skin. As ever, a focus on the back – the designer’s favourite part of the body – was core.

Elsewhere, the designer flexed his impeccable handiwork with a dress that overlapped burgundy, dark teal and black cutouts. Later, lacey numbers took form in sporadic patchwork: a dew green dress cross-sectioned with black, knotted wraps, or a white, floral broderie midi paired with a micro-blazer.

For the show’s last section, models strode out in red – a colour Yohji has long used as a byword for passion – showcasing all-out gowns. Exemplifying his skills and early love for Western couture, they were twisted with artisanal details, be it buttons along the flank, origami sleeves, a corseted cleft, or an intentionally off-kilter train. Amidst fashion’s now irrevocable reliance on celebrity and social media virality, such attention to detail and lack of theatrics made the show feel all the more special.

In three words (don’t use black)?

Dishevelled, poetic, coherent.

What?

A camp extravaganza put together by Christian Louboutin and the king of kitsch, photographer and artistic director David LaChapelle.

Where?

La Piscine Molitor, a behemoth swimming pool in the 16^th arrondissement.

What went down?

The Parisian designer entasked France’s national artistic swimming team with putting the ritzy new Miss Z stilettos to the test.

Choreographer Blanca Li (who’s previously worked with Jean-Paul Gaultier, Chanel and the Paris Opera) channelled the vision into wild sequences which saw the team sliding down giant Loubs, gyrating from podium doorways or performing spinning handstands around a fountain. Louboutin and LaChapelle even got involved, dropping into the pool for a splash at the end.

Entitled ​“Paris is Louboutining” – a nod to the cult ballroom documentary Paris is Burning – the performance came with wild flame projections and sexy firemen pole-dancing. Of course it did.

The key takeaway?

A much-needed blow-out to carry us through the final days of fashion month. Why be anything less than extra?

What?

A star-studded show with eccentric characters on the runway – not least Anok Yai as a runaway bride.

What went down?

Guests had to descend a shopping centre staircase, where they were eventually greeted by a towering pile of clothing.

Inside, rows of benches and sombre lighting filled the room. A balaclava-wearing guest immediately piqued photographers’ interest – turns out it was Camila Cabello. Ice Spice and Normani, a front row fixture at this point, posed together for a few snaps before taking their seats.

Travis Scott opened the show, giving his best Zoolander as he zipped down the catwalk in a glossy black biker jacket and matching trousers with exaggerated knobbly kneecaps. Next, Gigi Hadid came bounding down the runway in what can only be described as a makeshift DHL tape mini dress and heels. The DHL logo is classic Vetements, having famously appeared on a T‑shirt for the brand in 2016. But was the tape a reference to the Balenciaga tape dress of Demna Gvasalia – brother and former creative partner of Vetements’ creative director Guram Gvasalia? We’ve not been this interested in the relationship of two brothers since the Oasis announcement.

Is there more?

Absolutely. A heavily pregnant Carmen Kass, former model of the year, walked in nothing but undies. Law Roach made his Paris runway debut in a blazer with OTT shoulders and a Hermès bag. And everyone’s favourite Desperate Housewife, Bree, aka Marcia Cross, sped down the catwalk in a black, caped dress, intermittently fanning her arms to resemble a bat. As you do.

Then there was the runaway bride. Anok Yai raced down the catwalk as though she was being chased by one of Guram’s eerie muses. The best part? It wasn’t planned at all, according to the model. Drama and chaos at fashion shows? We’re so back.

What?

Seán McGirr’s much-awaited second collection for McQueen focused on Irish folklore.

Where?

Inside the lavish and large Ècole Nationale.

What happened at the show?

There were hordes of pedestrians outside of the McQueen show. One woman and her friend wielding a camera asked guests if they’d ​“like to find their inner child” by picking a note from a perspex box.

Moments after Cardi B waltzed in wearing a choppy bob and fur coat (she’s the unofficial winner of SS25 street style, btw), the show kicked off: an ode to McGirr’s Irish heritage, with a focus on banshee mythology. ​“The banshee is rooted in the history of McQueen,” he said, ​“but it’s also a story that I grew up with, so feels deeply personal to me – something I remember my mother talking about in Ireland, describing the cry of this solitary, foreboding figure.”

McGirr knows a thing or two about how to make a viral shoe. The divisive hoof boot did the rounds on social media, and guests turned up in them, too. This season, he developed a vertiginous mule that inevitably had all the girls talking. You’d probably think twice about stepping out in them, but they’d make for a nice Instagram moment should they happen to be within your reach.

Gossamer lace adorned skirt hemlines and slip dresses, making for a purposely dishevelled vibe. A layered, pleated chiffon ivory dress was distressed and belted; sweeping, airy pieces sat in contrast to a panelled leather jacket and sizable buttons – an outfit that will either be seen on some chain-smoking editor in East London, or Gabbriette.

In one sentence?

A confident offering that displayed McGirr’s self-assurance, and, most importantly, his vision for the brand.

What?

Surreal proportions and Naomi Campbell.

More please.

Known for his playful, sculptural designs, the Dutch designer brought his signature style to new heights for SS25. Literally: statuesque models came down the runway with bags atop their heads.

And that wasn’t even the most eccentric thing we saw. Shoulder detailing on floral tops and striped shirts were both bulbous and surreal. Bras were transformed into rock climbing holds that jutted off models’ chests, while hip bones were carved out of protrusive moulding under printed one-pieces. Elsewhere, there was the use of wooden car seat covers as material, adorning the chest piece of a cropped, grey military jacket and even a tiny, padded denim thong.

If that weren’t enough, Lantink conjured up a garment with an embedded screen on the stomach, live streaming the runway show as it happened and giving guests the chance to see themselves in a white mini dress. Properly fashion-forward thinking.

Anything else notable happen?

Umm…

Any models that were perhaps banned from running charities in recent weeks walk in the show?

We couldn’t possibly comment.

In one word?

Bonkers.

What?

A continued elevation of the designer’s namesake brand.

Where?

It was located in Paris’ neoclassical Château de Bagatelle, quite a far out location, which meant all of the guests that attended were there for VB, and VB alone. It was a stunning set-up with huge oak trees surrounding the space.

The vibe?

This season, Beckham sidestepped the sometimes abstract, flowery concepts designers lean into when working on a summer collection. Rather, she opted in favour of thinking more practically: to be specific, honing in on the relationship women have with their clothes, and the physical act of putting them on – or taking them off. How does what you wear accentuate the way you feel when you’re naked?

In an attempt to answer this question, VB toyed with ideas of seduction and sensuality, and what these mean in the context of our wardrobes. This meant lots of skin on the runway, upturned trouser waistlines and sculptural, asymmetric resin tops that were moulded to models’ bodies like they were frozen in time.

There was also crumpled camel suiting and small, intentional slits that revealed a bit of a model’s waist here, a touch of her navel there. Bias cut silk dresses – a stand-out was a bottle green number worn by Gigi Hadid, which is already available to buy – added an air of eroticism. Of particular note were pairs of slouched suit trousers with a single slashed leg, which appeared in more than one show this season.

Who was there?

The entire Beckham tribe, and Victoria’s daughter-in-law, Nicola Peltz.

What?

A celebration of Chitose Abe’s quarter century (!) designing for the brand she founded.

The vibe?

For Abe, SS25 was all about creating new memories while nodding to Sacai’s storied heritage as a brand that prioritises functionality. For the occasion, she chose to dig into her own archives and zero in on reimagining key pieces.

The MA1 bomber in particular was given a fresh silhouette, carefully cut and spliced to reveal a ruffle here and there, trench coats were carefully pleated, and hunting jackets made more feminine by chiffon inserts.

There was more emphasis on the endless possibilities of hybridisation – in this case, blending the utilitarian with the delicate. For example: double-breasted jackets were worn as dresses, while leather and tartan looks were folded up to resemble intricate origami pieces that sat comfortably on the body. Boots were puffed-up with a spindly heel and sailor-esque Breton stripes stood out. Elsewhere, there were flashes of fur and leopard print, lots of ingenious folding and fine fabrics.

Main takeaway?

Elegant-cool can – and should – be achievable with a single item of clothing. Here’s to another 25 years of Sacai excellence.

Where?

Where to start. Held inside the Palais d’Iena, scores of fans (at this point, who isn’t one?) were kept at bay by a metal barricade and watched on as a rotation of celebs walked around a circular, cobbled entrance.

What was the show like, then?

The casting this season was insane (more on that in a moment), as was the interior space that resembled a newspaper factory. The Truthless Times paper – created specifically for the show – zig-zagged overhead on a machine. Several iPhones were raised in the air trying to catch a glimpse when, suddenly, a video clip began to play: a short featuring two employees of the fictional paper, who found themselves in a situation where their miscommunication and moral compass were called into question.

With only a few moments to mull over, conversations came to an abrupt halt as the opening model – a blonde-haired teen with an angelic face who turned out to be Nicole Kidman’s 16-year-old daughter Sunday Rose – walked out. Sunday Rose paraded down the silver vinyl flooring in a white dress she forgot to do up. By that, we mean, tiny holes were visible at the front and the back as the dress flapped open. Prada has a thing for a dishevelled, out-of-sorts muse, so this rings a bell (think of her AW23 frizzy-haired heroines).

More models oscillated between unkempt and full-fledged glamazons in a variety of gleaming leather jackets, 1970s-inspired sunglasses, and open-toed heels (the internet has already dubbed the polarising shoe next year’s ​“It-shoe”), as well as slice-and-diced bodysuits further emphasised with low-riding two-tone leather skirts.

We saw the SS25 runway had some surprise guests…

You’d be right. The 10^th model to stroll down the catwalk was former FACE cover star Little Simz who donned a tan overcoat, white shorts, suede trainers and held an espresso-coloured bag to her side as though one of the FROW might snatch it off of her given half the chance (she’d be right).

Next came the OG It-girl, Alexa Chung, in one of the navel-baring bodysuits and pleated skirts with a sharp blazer. Cara Delevingne, who has long cemented her status as a Miu Miu girl, returned to the runway much to the delight of showgoers. Actress Hilary Swank wore a subtle smirk as she hit the runway in a tasty glossy mac and pink sandals. And here’s the real show stealer: Willem Dafoe closed looking both confused and satisfied in his decision to become a Miu Miu man. It’s been over a decade since he walked for Prada, so it makes sense that he wanted to return to his true calling. You know just how to keep us on our toes, Mrs Prada.

What?

Freak chic party wear for the contemporary It-girl.

And that soundtrack?

Demonic NYC ballroom meets industrial noise. Wench, Arca and Shayne Oliver’s musical outfit was behind it, setting an aptly chaotic tone for the collection.

Some context…

There’s order in chaos as far Ottolinger is concerned. Swiss power duo, Cosima Gadient and Christa Bösch, started out after graduating from Basel School of Design in 2015.Since then, they’ve gone hell for leather with a process that involves knotting, shredding and burning – yes, literally – garments.

As for this show?

More where that came from. Emerging from the mouth of a giant inflatable great white shark, models sashayed down the runway with their make-up snatched and their hair tressed in bouncy blow-outs (very Paris Hilton and Ciara circa 2004). You can thank the inimitable Isamaya Ffrench for the makeup.

Opening with a set of side-walk grey scuba pants, seamed and fastened diagonally along the hamstrings, the collection was a fine balance of commercial nous and directional design. Shouty hazard striped bikini sets – zipped on the crotch – felt like easy ticks for a buyer, as did the shredded sweaters, armholed on the breast. Indeed, although the pieces were displayed provocatively, they could easily be styled and layered into something more office appropriate. Modular separates, if you will.

Padded seat belts, another win for stockists, were dotted throughout, while variations on the diving gear arrived in varying hues, not least a half-unravelled skirt that recalled an off-duty surfer winding down for the day. That explained the shark.

Elsewhere, typical Ottolinger-isms (!?) appeared in the tied and taut t‑shirt hybrids, the doubled-over contrast panties and the growing use of gold lurex, draped and splayed. That use of gravity and tension – see the falling-shoulder blazers and shirting – marked this collection out as their most technically challenging.

As ever, the show was a clear reminder that Ottolinger is one of today’s go-tos for formalistic experiments in clothing design. And, as the ingenious blended flannel prints used on skirts and body wraps made clear, there’s more to it than just dicing up a roll of fabric.

Final word?

Desk to disco is the oldest copywriting cliché in the book, but in this instance, it actually rings true. Tailoring, quick-action adjustments and ventilation? Check. Option to sex it up or down? Double check.

What?

Stefano Gallici’s third outing at the Ann Dem house, where he’s been working since 2020, first as a menswear designer, then as creative director from June 2023. For his first two seasons, he played it relatively safe, leaning on the storied archives and introducing only a touch of his own vision. Now, having proved his knowledge of the brand, he pushed a heavier, brattier silhouette, scaling up the textures, volumes and emotion.

So, the verdict?

This was the most convincing insight into Gallici’s future at the house yet. Rather than over-egging Demeulemeester’s ​’90s grunge minimalism or her dandified noughties, this collection embraced a more contemporary, teenies-coded teen angst. Indeed, Gallici’s approach has been increasingly attuned to a slightly extra, over-shared melancholia that Demeulemeester tackled with a colder, pre-millenium skew.

This moody, go-to-your-room USP was apparent across the board, whether it was the white lilies lining the subterranean concrete runway (very Tumblr!), the shredded, shoe-swallowing jeans – layered with various washes – or the splayed bondage boots.

Elsewhere, an abundance of neckerchiefs and ​’70s rock ​‘n’ roll nods paid homage to Fleetwood Mac’s Rumours, as well as the Edwardian, swashbuckling ensembles Demeulemeester toyed with in the early ​’00s. The designer also excelled in his more colourful – albeit pastel or washed-out brown – pieces, such as the parka jacket or micro overcoat that came complete with buttons dotted on the diagonal axis. In this section particularly, Gallici made new ground, offering up a simple but effective floor-grazer in lavender sheer and a candy floss plissé skirt, teamed with a moth-hole tee.

The best bits were often the simplest. Here, references to Demeulemeester’s drop shirts were given a contemporary skimpy twist in strappy broderie anglaise, meanwhile lapel-less tailoring was cut and fitted like a glove. Together, they suggested a promising route.

The takeaway?

There’s a lot more to come.

What?

A welcome intermission from ​“nice clothes”.

What went down?

A wrought and worn take on western couture, the Japanese designer leaned into his tried-and-tested skills in patchworking. Perhaps the schedule’s most daring pattern-cutter, Watanabe salvaged hunks of detritus – camping rucksacks, a sweat-stained Harrington jacket, Cambridge satchels, you name it – to form gargantuan dresses.

Rather than easing us in, the punk provocateur opened with a floor-grazing gown built entirely from technical buckled straps, ripstop outers and reflective strips that had once been part of someone’s hiking kit. At the bottom, a tent liner acted as the garment’s train, setting the tone for the blend of old world modernism and futurism that followed.

Another standout piece was the maxi dress topped with crumpled and bunched florets of knapsack: the flaps, the webbed handles, the netted pockets and the bungee toggles included. Beneath this clumpy, School of Comme upper, a pleated silver skirt – which tapered then flared – extended to the feet, dancing just above a pair of harnessed and spiked cuban heels that cropped at the ankle.

Later came the metallic puffball quilted skirt, made up of transparent acrylic and swirl-stitched mirrored foils that refracted the lights as the model walked. Intricately woven amongst these bizarro swatches were soft, greige tape-seamed nylon blends and the now signature dangle of sternum straps. As the show progressed, it was becoming increasingly clear that this was one of Watanabe’s best.

In the show notes, the ever-elusive designer let the clothes do the talking, writing only the following: ​“I feel that abnormal clothing is necessary in our everyday life. This collection was made by upcycling modern everyday materials and using sculptural techniques.” To his point, the closing look was both abnormal and indeed wearable. Granted, a ball gown crafted entirely in artificial, or stiff duffle bag PVCs might not make the comfiest of togs. But that’s kind of the point. When the world is burning and so many designers are recoiling into conservatism, a crinoline held in place using the rubber matts that would otherwise protect the bottom of one’s luggage is just what we need.

In short?

Both extremely of the time – as the very materials proved – but also timelessly pulled together.

What?

A reminder that sartorial consistency pays off.

Explain…

Now a decade deep in her role as womenswear creative director, Nadège Vanhee-Cybulski presented a prim and proper collection this season, one that served, first and foremost, the Hermès maison. In essence, the clothes showcased the quality one expects when investing – and, let’s face it, it’s always an investment, if not heirloom-in-waiting – of any Hermès good.

That’s not to say her own vision wasn’t apparent throughout. The sharpness she’s gradually sharpened during her tenure was made manifest in diagonal cuts, belted split crew necklines, sumptuous front-slit skorts and one notable kimono-fold bomber. Divine. Elsewhere, buttery peanut hide arrived in all manner of variations, from a classy, concave-zipped moto, through to a cropped, collarless, rolled sleeve jacket and panelled, front-pleat pants.

This intuitive sense of line has always married well with Hermès’ USP of unspeakably chic yet lightly directional fare. We’ll refrain from dropping the hackneyed term ​“quiet luxury” here, not least because the maison has been doing it forever. Indeed, Vanhee-Cybulski’s ability to transpose or mirror house motifs – be it leatherwork or simply fine silk prints – across mediums remains strong. Where gold cuffs were worked into diamond points, similar shapes appeared on silk shirting and midis, as well as a woven slip embroidered with geometric leather patches. Together, they were subdued by a woody palette.

It’s this whispered prestige that has made the brand the bastion of luxury, so desired that people will literally file class action lawsuits against it. Yet, for as long as Vanhee-Cybulski is helming the house, women of all classes will want to be part of this untouchable club. Right now, the menswear honcho, Véronique Nichanian, has three and half decades and counting under her belt (Perhaps the longest creative directorship in the world? We’ll have to check.) Based on that, Vanhee-Cybulski should be safely employed for some time. And quite right, too.

In two words?

Palpably expensive.

What?

The house’s design studio presented a summer collection that felt fresh and youthful.

Where?

Inside the Grand Palais, a landmark in the history of Chanel’s legacy, and Karl Lagerfeld’s former playground. The building was recently renovated, and it felt fitting that Chanel would be the first show since the facelift.

There’s still no creative director, so what did the clothes look like?

While that may be true (for now), the collection was light, airy and feminine with an air of modernity. This wasn’t only evident through the casting choices – FACE cover star Alex Consani walked for the first time along with Alva Claire – but in the silhouette choices this season.

Feathers were fashioned onto plush capes, fluttering as they appeared, while collars on bouclé jackets and sunglasses received the same treatment. A highlight was a longline coat with dainty feathers on the bottom.

Size inclusivity hasn’t always been prioritised on the Chanel runway, so it was especially good to see models of varying sizes take to the catwalk. Sudanese model Ajok Daing looked a vision in a striped short set.

Oh, and Riley Keogh also closed the show by singing Prince’s When Doves Cry inside a birdcage, so do with that what you will.

Fancy more?

Get a BTS look at Gene Gallagher’s front row experience.

What?

Curious clothes for quirky girls.

What went down?

Held inside an old cathedral, Laura and Deanna Fanning’s show was an exercise in twisting and testing otherwise mundane or athletic silhouettes with oddball details and crafty layering. Leaning into their tailored sensibilities, the Aussie duo peppered space-age suiting with geeky, collector badges, contrast piping and, in several instances, a total absence of lapels. So far, so Fanning.

As ever, the two approached their work with a neatness and restraint, preferring to de-bone rather than ransack garment templates. Here, plunging, gashed necklines were split then sewn over, peppered in amongst an abstract one-sleeve patchwork knit (kooky chic!) and shredded skirting. Elsewhere, cutout arm inserts and padded, protective shoulders recalled the work of André Courrèges, made sportier.

As is the case with both the women’s and men’s side of the Kiko label, the collection took cues from uniform, workwear and performance outerwear, morphing it into something you could imagine Anakin Skywalker rocking. Rapier-sharp drape work appeared in cowled double-sided capes that were fastened with a single popper, while an admiral overcoat came with braided edges and epaulettes (plus some charmingly awkward panelling). Throughout the collection, wired scarves were frozen in time – windswept – offset with prim millinery that sat somewhere between a bowler hat and a felted cloche. Cutesy but hard to place.

Indeed, it’s the girls’ futuristic, uncanny grip on actually wearable clothes that makes it the go-to for art-schooled Dalstonites and the Bushwick baddies. Kudos. Now several years deep, the twins went straight from MA at CSM to co-creative directing the women’s line of a brand that had up to then been 99% menswear. That they’ve managed to carve out their own aesthetic without trailing away from the overarching technical nerdery (post-gorpcore?!) of the mother-brand is a testament to their talent.

Any epiphanies?

At a time when many of the London brands are struggling, Casa del KK – now with a store in Tokyo and stockists, well, everywhere – is a case study on how to strike a balance of esotericism and buyer catnip. After all, who doesn’t want a Trivia bag?

What?

Environmental call to arms meets love letter to our feathered friends.

Where?

Avenue de Saxe with the Eiffel Tower, er, towering in the background.

What was the collection like?

Birds, birds, birds: that’s what Stella McCartney had on the brain when she was designing her SS25 collection. It was led by Save What You Love, a manifesto narrated by none other than Helen Mirren, which in turn was inspired by author and keen birdwatcher Jonathan Franzen’s book The End of the End. Lots of layers here, but the message is clear: we should all be taking better care of each other and the world around us.

As you would expect: the collection was made without harming any animals. Oversized trenches were paired (again!) with one-legged trousers. Suit trousers, meanwhile, were matched with delicately folded halter necks. McCartney wasn’t afraid to go large, either: big shoulders, trousers and knitwear all made an appearance, in a palette of reds, greys and soft beiges.

Overt references to birds were made via a silken, shawl-like top draped across the body. The model wearing it held a bag with a newspaper stuffed between each handle – a fun detail that made its way across the whole collection. Elsewhere, an embroidered bird covered a model’s chest via a sheer black bodysuit. Candyfloss-like dresses in peach and cyan stood out, as did Brat-adjacent white tank tops with ​“MOTHER” and, in much smaller font, ​“fucker” slapped across the front.

Any goss?

Pauline Chalamet – sister of Timothée – was seen, overheard, whatever you want to call it, telling her pal Greta Gerwig that she’d just given birth to her first baby. Aw!

Founders Benjamin Barron and Bror August gave us a tour of their stellar studio. Up for grabs: twinkling, bow-laden heels, flat boots, bomber dresses, signature double tank tops and tilted skirts. Exquisite, we reckon.

What?

Alessandro Michele’s much anticipated debut show for the house since his departure from Gucci.

What was the FROW like?

It was a mighty one: Harry Styles, Andrew Garfield, Elton John, Salma Hayek, Carla Bruni, Florence Welch and Hari Nef. The old gang’s back together!

What were the clothes like?

Maximalist and intricate. Following the announcement of his appointment in March, Michele has hunkered down, furiously studying Valentino Garavani’s archives (his surprise 260-strong drop in June should’ve given us some idea of what was to come). He became particularly enamoured with designs dating back to the ​’60s, ​’70s, and early ​’80s. The result? 85 looks in total – 20 of them menswear – that honoured Valentino’s vision, with his own unmistakable touch.

Ruffles protruded out of knee-length gowns, lace bodysuits were matched with tights and babydoll dresses were dramatised. Delicate boudoir pieces and negligees were married with fur coats, in addition to an abundance of polka-dots slapped across suits.

Large embellished earrings, septum piercings, cartoonish cat necklaces, and bracelets boasting large pastel hearts made for the accessories. Footwear, meanwhile, saw lace-detailed heels with ankle ties.

In three words and three punctuation marks?

A fabulous spectacle!!!

Where?

A stone’s throw away from the Louvre. Creative Director Nicolas Ghesquière doesn’t do things by halves, does he?

Was a certain Euphoria star there?

Yes, Zendaya arrived to a mob of paparazzi wearing a puffball skirt and blazer, with a slick of red lipstick. Once inside, the LV ambassador was spotted bopping along to Tina Moore’s Never Let You Go, while sat next to Lisa of Blackpink and Cate Blanchett of Tár. Opposite were Chloe Grace Moretz, Ana De Armas and the Haim sisters.

What were the clothes like?

Puffed-out tops that double as mini dresses hit the runway first: some styled with striped biker shorts and some simply with a bodysuit underneath. Hypnotic feather heels were hard to miss, coupled with an assortment of equally airy, drop-waist dresses and lengthy black ​“LV” necklaces.

Jackets rendered in paintings by the French artist Laurent Grasso finished out the show, alongside pliable bowling bags in earthy tones and fisherman-style flats. Elsewhere, heels had a distinctive motorbike effect, some with ​“LV” coins affixed. They’re sure to be a hit next year.

In short?

A beachy take on Americana with the usual hints of French girl chic.

Where and what?

Madame Marant brought Rive Gauche ease to the Rive Droite, airing her collection inside the Palais-Royal – a 17^th century palace in the 1^st.

So, tell us about the clothes…

If there’s one thing Isabel Marant does well, it’s boho chic. But let us be clear: this version is a world away from that of, say, a Chloé or an Etro. More substantial than the former but girlier than the latter, Isabel Marant’s USP for au naturel dressing – or what the maison calls ​“cool luxury” – has proven, once again, to be eternally relevant. This season, rather than resting on her laurels, the designer looked further afield to the tropics for inspiration, dousing keyhole halter-necks, strappy swimwear and slit-leg dresses in a rainforest palette.

Alongside prints recalling birds of paradise or endangered plants, there were also more familiar tropes at play: plaited Western satchels, beaded belts and of course tassels everywhere from the oxblood earrings to the technicolour fringing seen on skirts and abbreviated ponchos alike.

Elsewhere, eyelet-fastened suedes, which came as mini shorts or flares, made apt pairing for the foldover moccasins. Studded trims on leather bottoms and just-got-up hair maintained that je ne sais quoi the brand lives and breathes.

Any other highlights?

Well, yes, those gladiator sandals, the time-worn ombré cargo jacket and the paisley minis were exactly the kind of fare that women with a taste for the finer things want when they’re out of office. The same goes for that corseted biker jacket-boiler suit hybrid – she looks expensive! – and the aztec embroidery splashed throughout. It might be a working month for us, but this woman isn’t anywhere near her emails right now.

And finally. I mean…

See you next season!