showreport
Martin Onufrowicz
CELINE SS25
showreport
Martin Onufrowicz
LOUIS VUITTON SS25
showreport
Martin Onufrowicz
LACOSTE SS25
showreport
Martin Onufrowicz
MIU MIU SS25
showreport
Martin Onufrowicz
VALENTINO SS25

showreport

CELINE SS25

Hedi Slimane is a creative director through and through. His collections are not merely clothes; they are gateways into a world of his construction. For Spring/Summer 2025, Slimane transports us to the 1960s—a familiar era for him. While his Fall/Winter 2024 collection explored this decade as Celine's golden age, this season, Slimane takes a different route, delving into the youth culture of the time. Drawing inspiration from Françoise Sagan’s La Chamade and icons like Juliette Gréco, he presents a collection that doesn’t just create characters, it forges a narrative.

Despite unveiling the collection at the height of Paris Fashion Week, Slimane marches to the beat of his own drum—this time to the tune of The Velvet Underground and Nico’s Femme Fatale. Models gracefully paraded through the halls of the Château de Compiègne, a royal residence northeast of Paris, as the film, aptly titled Un Été Français, unfolded. As is customary, the film opens with a coveted Celine-branded item—in this case, a typewriter—that instantly feels essential.

Soon after, models dressed in checked and pleated school uniforms, hand-embroidered and woven from summer cashmere, strolled through the opulent palace. Baby doll silhouettes added a sweet yet nostalgic touch to the collection, whether in black-and-white plaid or fully embellished designs. A standout moment came with a vinyl plaid set featuring a round collar and shorter skirt—a transcendent piece. Equally impressive was the couture selection, which comprised 20 of the 49 looks, with carefully placed palettes and shimmering ornamental flowers adorning charming mini dresses.

Central to many of the looks was the latest addition to Celine’s iconic bag lineup: Joséphine. Reflecting the spirit of the collection, this bag features a curved, erect handle that instantly transports us to the Belle Époque of fashion—the very essence of Slimane’s vision this season.

From the meticulous stitching on each button to the historically accurate buckled Mary Janes, Slimane’s perfectionist tendencies were on full display. Beauty, too, played a pivotal role in his collection, with almost every model donning Gréco-inspired eyeliner and fringes. The attention to detail extended beyond the runway, as a signature perfume created specifically for this collection further amplified the atmosphere of the show.

The collection’s debut came just days before Slimane announced his departure, soon followed by the appointment of his successor, Michael Rider. After seven prosperous years, Slimane leaves Celine transformed. With the introduction of menswear, a beauty line, and a fully-fledged couture line, the Celine he departs is far different from the one he inherited. But all good things must come to an end. Slimane will undoubtedly find new avenues for his genius, and Celine, under Rider’s leadership, is poised for further growth. Having been a design director during Phoebe Philo’s time at the house—still regarded as a golden age—Rider’s appointment signals a new and exciting chapter. The king is dead, long live the king.

Words by Pedro Vasconcelos

LOUIS VUITTON SS25

On a stage made out of hundreds of trunks, Nicolas Ghesquière presented a Spring/Summer 2025 collection for Louis Vuitton equally opulent when it comes to ideas. 

The season’s starting point came from one of Ghesquière’s favourite history periods, the Renaissance. The show opened with a round of looks which played with the shapes of jackets from the era – the sleeves were billowy and the peplums flowed as the models walked down the runway. And since this is a Nicolas Ghesquière collection, these garments of historical proportions were given a modern edge through their lightness and pairing with striped bicycle shorts.

Excellent outerwear propositions continued throughout the offering, including the standout off-white cape with an architectural collar (worn with dramatic feathery shoes) and a black chiffon jacket with sharp ‘80s shoulders, embellished with oversized stones.

The fluid nature of the collection was emphasised by the strings of necklaces dangling all the way to the navel. The jewellery accents were further used throughout the accessories range, from monogrammed bags decorated with a rainbow of stones to bucket hats embellished with pendants swinging to the beat of the soundtrack.

Words by Martin Onufrowicz

LACOSTE SS25

The ball is in Lacoste’s court this season, as Pelagia Kolotouros and her design team at the iconic 90-year-old French sportswear brand push the boundaries of athletic wear. Titled Tennis to the Seaside, the collection draws inspiration from the wardrobe of René Lacoste, reflecting his 1920s style that seamlessly transitioned from intense tennis matches to leisurely seaside cruises, always with a stylish edge. Polos and neoprene blazers are tucked into high-waisted shorts, while retro bathing suits and jelly sandals make a comeback—perfect for scaling rocks or harvesting oysters for lunch.

Lacoste serves up a striking range of beige-to-yellow looks, each tailored to different occasions. This season, “doubles” are the highlight, as matching menswear and womenswear sets add a playful element to the show. Notable pieces include tennis racket sweater vests paired with a skirt-over-pants combination, an elevated nod to Mikhail Youzhny's memorable head-hitting racket moment. The brand’s signature green hue also returns, flowing into deep chocolate tones that exude a refined elegance while still paying homage to Lacoste’s sporty heritage.

The backdrop, a fountain-like sculpture by British artist Susie MacMurray, made from actual tennis nets, sets the tone for the collection. The tennis net theme is woven throughout: from sheer, netted layering pieces adorned with charms to crocheted dresses featuring fierce crocodiles snapping at the models' necks. Accessories seamlessly echo the offering’s theme, with loose tennis net-adorned bags available in a variety of shapes, colours and sizes. Meanwhile, mini tennis skirt flaps bring a bold and playful twist to the classic baguette handbag.

Lacoste aces the season with its knack for reinvention. Tracksuits are looser, dresses sexier with strategic cutouts, and prints bolder and more dynamic. The brand also revisits Robert George’s iconic prints, reimagining the famous Lacoste logo by enlarging and rotating it across shirts, dresses, and trench coats. Just when we thought the sportswear trend had peaked, Lacoste elevates it once again, expanding into the lifestyle realm and broadening its appeal to a modern audience.

Words by Gabrielle Valda Colas

MIU MIU SS25

For the past few seasons, Miu Miu has been reigning supreme as one of the most desirable brands in today’s fashion. With her show for Spring/Summer 2025, Miuccia Prada took the brand’s signature look and gave it a 1970s twist.

The collection opened with a couple of silhouettes redefining lingerie garments into daywear. Light cotton dresses and skirts in see-through white were paired with leg warmers and peep-toe shoes. These were followed by a round of retro sporty propositions – one of Prada’s favourite influences. Pleated skirts sat below the knee, and matched with cropped anoraks or roomy windbreakers in muted shades of grey, navy and burgundy.

Then, it was time for a party. From cut-out swimsuits worn with shiny vinyl skirts to coats, polos and skirts in psychedelic prints, Prada fully leaned into the 1970s aesthetic. The brand’s signature kookiness was omnipresent. Shirts worn with v-neck sweaters were twisted into tight tube tops with tied sleeves dangling to the side. Bigger than big plastic sunglasses in yellow and purple referenced the signature bug eye shapes from the era, while metal belts in silver and gold played the role of jewellery, stacked on top of coats and skirts.

Words by Martin Onufrowicz

CHANEL SS25

During a week marked by relentless rain, even the sun seemed to celebrate Chanel’s return to the Grand Palais. After a four-year hiatus, during which the maison funded the venue’s restoration to ensure future shows, Chanel made its grand homecoming. And for many of us, it truly felt like coming home. A sense of ease washed over the guests as the uncharacteristically bright sunlight streamed through the glass ceiling. In these unpredictable times, as we all patiently await the announcement of the next creative director, Chanel’s design team delivered a collection that reaffirmed the house’s legacy is more than capable of sustaining its creative spirit.

Karl Lagerfeld’s presence lingered in the air—perhaps due to the iconic setting, though more likely because of the giant birdcage at the centre of the runway. The theatricality, unique to the Grand Palais, was palpable. The collection opened with voluminous collars on classic and not-so-classic tweed looks, as a variation of sets introduced shorts as a complement to elegant jackets. Chanel’s design team drew inspiration from the Art Deco steel architecture to pay homage to its beloved venue, incorporating these classic motifs into hand-knit details on contrasting tweed collars and traditional suits. One particular standout subtly reimagined the winning formula—a patterned shift dress blended seamlessly with a similarly patterned blouse, both, of course, in tweed.

But it wasn’t just the subtle references hidden within the sweet tweed ensembles that honoured Chanel’s legacy. The birdcage towering over the runway was a direct nod to the iconic 1991 advertisement featuring Vanessa Paradis, directed by Jean-Paul Goude. Like Paradis before her, a new Chanel muse, Riley Keough, sang while swinging gracefully from side to side, her dress beautifully trailing behind her as she soared through the air.

Despite the unconventional movement—after all, there aren’t many who casually swing from a massive birdcage—it was mesmerising to watch the gown flow so effortlessly. Similar dark, flowing pieces appeared on the runway as the show neared its conclusion, just before the final looks, which, perhaps nodding to the usual occupants of cages when models aren't around, were adorned with light feathers.

Words by Pedro Vasconcelos

VALENTINO SS25

We’re so back, baby! After a two-year hiatus from the runway, Alessandro Michele makes his triumphant return. We got a glimpse of what his first collection might offer with the 171 looks released for Resort 2025, but this season felt like a joyous homecoming. In an era where "recession core" — drabby, restrained fashion reflective of financial caution — seems to dominate, it was exhilarating to witness the return of fashion's maximalist maestro. And maximalism is exactly what he delivered.

The collection drew heavily from Mr. Garavani’s time at the brand, with references dating back to the 1960s. Not that Michele needed to explicitly say it in the press room after as he did — the angular lapels on structured blazers and tiered chiffon dresses left little room for doubt. Grounded in the era's sensibilities, Michele crafted a collection that was unmistakably his own.

Yet, for those worried Michele would merely replicate his previous work, this collection felt refreshingly distinct. Yes, we saw the signature polka-dotted ruffle dresses and Margot Tenenbaum-esque fur coats, but something at its core was noticeably different. The camp extravagance of his Gucci era was tempered by a refined elegance. Gone were the loud colours and graphic prints. While there were obvious departures from his predecessor—colour-blocking gave way to pattern clashes, and heavy sequins were replaced by delicate embroidery—the collection still resonated as pure Valentino.

One dress paired a sheer top with rococo oversized buttons and a stiff skirt trimmed in fur. Another featured a satin black tunic with shimmering red embroidery at the chest, topped off by a large hat adorned with an even larger feather. The collection was a clear character study for the new Valentino woman. And with his debut couture collection slated for early next year, to say we’re excited for Michelle’s next steps at Valentino would be an understatement.

Words by Pedro Vasconcelos

ISABEL MARANT SS25

As we return to work under dreary skies, Isabel Marant remains in holiday mode. The brand presented a radiant collection set against a sunset awash in orange and yellow hues at the iconic Palais Royal. The show opened with camel fringes swaying to a bohemian soundtrack, perfectly complemented by the playful breeze, which seemed almost staged as it tousled the models' hair, fringes, and feathered skirts and coats. A butterfly moment arrives in the form of a T-shirt dress paired with gladiator sandals, followed by another iconic print—a tigery, tie-dye pattern that also served as the show’s invitation. 

Intricate knotting techniques adorned necklines, emphasising the craftsmanship at the heart of this season’s collection. Marant and her team highlighted their focus on artisanal skill, particularly in the embroidery, lacing and braiding details. On the feet: soft-soled moccasin boots in shades of beige, camel, and burgundy, tightly laced and adorned with tassels and gladiator sandals with bronze details offered a grounded touch to the looks. Flat shoes reigned supreme this season—a likely relief for both models and customers, because who really wants to wear four-inch heels on a beach in St. Tropez?

While the collection draws from bohemian and exotic influences, it resists being pinned to a single locale, creating an otherworldly cacophony of references. Trousers came in leather, camel, and suede—some cropped, others longer—all designed to mix and match seamlessly with any ensemble. A studded, tasselled skirt jangled its way down the runway, and playful zippers added a touch of irreverence, sometimes fastened, sometimes undone.

Who is the Isabel Marant woman? She’s a worldly traveller, embracing cultural ambiguity with an effortless style that blends bohemian flair and a modern edge. Geometric patterns and multicoloured embroidery adorned loose-fitting tunics, while fringes, daring necklines, and a boho-chic aesthetic took centre stage—an Isabel Marant signature, now reimagined with a fresh, comfortable twist.

The collection featured two standout knitted dresses, in black and silver, with carefully placed cutouts and mirrored ball ties, a nod to the Palais Royal fountains. Halter necklines and strong, structured shoulders turned heads, embodying the notion that shoulders, too, can be accessories. As the show transitioned into dreamy pink and purple hues, it culminated in a final celestial moment: sequined, translucent dresses that sparkled like stars emerging after sunset.

Words by Gabrielle Valda Colas

DURAN LANTINK SS25

In only a couple of seasons, Duran Lantink has conquered the industry with his striking take on fashion, which is not only based on innovative materials and creative constructions, but also includes social commentary on the world around us. This approach gives the brand a deep understanding of the needs of today’s industry.

For his Spring/Summer ‘25 collection, he envisioned a wardrobe for holidaying in Ibiza, inspired by his childhood memories. Each piece in the collection was made from upcycled materials, further solidifying his conscious approach.

Throughout the show, we see pieces that blur the line between practicality and artistry, resulting in a testament to Duran’s ability to place innovation at the forefront of his label, while still delivering wearable pieces. With a focus on light fabrics, visually strong prints, and dramatic shapes, the collection was a fusion of styles, enriching the brand’s aesthetic and creating its own visual language. 

Feminine silhouettes, like draped dresses in see-through fabrics, merge with sexy miniskirts and corporate tailored pants. On the other hand, big, dramatic shoulders resulted in exaggerated silhouettes and constructions. Floral print dresses with cut-outs on the sides and a voluminous ruffle at the bottom create a soft, wavy effect. Dresses adorned with what seems to be an inflatable swim tube add a playful touch to the overall look.

Words by Carolina Benjumea

MCQUEEN SS25

For his sophomore collection, Seán McGirr tightened his approach at McQueen. If last season—when the designer famously had only a few months to create a collection—offered an expansive interpretation of the brand’s biggest hits, Spring/Summer 2025 provides a more focused glimpse into his vision for the house. Rather than playing off several tropes, McGirr laser-focused on Lee McQueen’s tailoring prowess.

The S-bend became the central source of inspiration. One of the legendary designer’s iconic staples, McGirr reinterpreted it through a rolled lapel silhouette, which appeared in multiple impeccably tailored suits. The silhouettes—featuring powerfully angular shoulders and cinched waists—were undeniably mouthwatering. Other signature elements were reimagined, such as the bumster, whose extravagance was tempered by mesh panels, and material opulence reminiscent of Sarah Burton’s era at the brand, showcased in oversized fur coats and voluminous distressed skirts.

The show ended in a climactic moment that evoked the spirit of Lee McQueen’s original showmanship—Spring/Summer 1999 is forever etched in our memory. A true showpiece, crystalized threads contoured the model's body, the excess of which dangled from her arms and almost engulfed her head. Oh, to be consumed by crystal.

Words by Pedro Vasconcelos

CARVEN SS25

Carven’s characteristic minimalism comes with a sense of freedom and individuality, the same that imprints the clothes with a unique identity, creativity and self-expression. 

Revealed at the original house of Carven in the heart of Paris, this collection was inspired by the relationship between women and their wardrobes. Intimacy, camaraderie, but most of all, a deep understanding of women’s bodies and their needs are at the centre of this collection, where each piece is a testament to the brand’s construction prowess.

For this collection, Louise Trotter, the creative director, wanted to highlight the process of making garments as the foundation of the brand’s heritage. This is why the show took place at the mythical Rond Point des Champs-Élysées, the same place where Madame Carven started designing in 1945 and where all the collections are conceived to this day.

The collection was a parade of beautifully constructed pieces and sumptuous fabrics. Volume and fluidity were key visual elements, providing each garment with its own life and movement. Creating an amalgam of shapes that were both architectural and structural, the looks played with proportions while respecting the natural curves of women’s anatomy.

Elegant, timeless, and modern is the wardrobe imagined for the Carven woman—one where the subtle lines and simplicity of long coats and tailored pants merge with the intricate details of draped dresses, creating a synergy where design meets avant-garde technique. A monochromatic colour palette, represented by greys, whites, creams, and blacks, gives versatility to the pieces. Their fluidity and wearability help to blur the lines between day and night looks.

Words by Carolina Benjumea

LOEWE SS25

Online, in the infinite number of times the Loewe show has already been shared just hours after its runway debut, someone made a particularly pointed observation: “In a Loewe show, there are always about six ideas that would’ve been the best idea in someone else’s show.” Therein lies Jonathan Anderson’s success at Loewe—not just the sheer amount of creativity he exudes, but the harmony with which he pairs those ideas.

Despite the abundance of concepts, this season, Anderson aimed for reduction—an intention carried over from his namesake label earlier in the fashion month. This time, the idea was explored through silhouette work. With his signature absurdist take on fashion, Anderson freeze-frames fleeting moments with wired rigidity. A long leather coat flares open at the hem like the pages of a book. Khaki skirts remain mysteriously parallel to the floor. Looping hems add peculiar structure to otherwise flowy dresses as if they had been frozen mid-spin. The circular nature of these elements serves as a thematic throughline this season—even the show’s venue was a circle.

Unsurprisingly, Anderson is reflecting on the concept of cycles—this collection, after all, marks his 10th anniversary as creative director at Loewe. While we didn’t get a retrospective of his work—for that, you’ll have to visit the house’s exhibition, set to tour the world next year—the show was a clear representation of his vision for the brand. Watchful eyes were made to question everything in front of them. Unassuming T-shirts featuring famous artists appear simple at first, but on closer inspection, printed feathers reveal an almost comedic complexity. This is perhaps the best way to describe Anderson’s tenure at Loewe: serious design that’s never taken too seriously.

Words by Pedro Vasconcelos

RICK OWENS SS25

Attending a Rick Owens show is almost a spiritual experience, where all the senses are put to the test, stimulated by the richness of his creations and the depth of his message, and where you won’t depart the same way you entered. Rick Owens is to the industry what Sunday church is to Catholics: a mandatory appointment if you believe in it.

In a solemn ambience and against a mysterious background of white smoke, which has become a staple in his shows, an army of models in total black looks walked down the stairs of the Palais de Tokyo in groups. The models were members of Owenscorp, fashion students, or personal friends of the designer, resulting in an incredibly diverse casting.

The theatrical choreography was accompanied by gothic attire, and as the show progressed, the colour shades and pieces became lighter. Full black looks transitioned into greys and metallic shades, while structural pieces merged with deconstructed silhouettes and voluminous designs, creating an eclecticism characteristic of the brand.

Cut-out crop tops and bodycon dresses, along with tight floor-length skirts, conveyed a sense of edgy sensuality, while draped looks showcased Owens’ construction prowess. Leather cropped, disproportionate jackets served as radical pieces that unified the entire collection.

Signature codes of the house, such as dramatic shoulders and leather high platforms, were styled with robotic silhouettes and tunics in loose fabrics, sculpting looks that are as creative as they are subversive.

In typical Rick Owens fashion, the Hollywood collection was more than an aesthetic expression; it was a declaration of his roots and the common threads that tie him to his tribe—those closest to him, the weirdos and freaks.

Words by Carolina Benjumea 

MUGLER SS25

Casey Cadwallader returns this season to unveil Mugler's Spring/Summer 2025 collection, offering a sharp, symmetrical vision through the lens of a botanical aficionado. Florals for spring? Absolutely. But this is Mugler, where we can expect nothing less than expertly executed, structurally reimagined designs with a touch of sci-fi.

In celebration of the house's 50th anniversary, Cadwallader has meticulously dissected the garden, sowing the seeds for a collection that honours five decades of creativity. Ladybugs and beetles take centre stage, crawling their way into the intricate construction of corsets, blazers, and dresses. The necklines are sharp and deep—a reminder that to cultivate a vibrant garden, one must first dig into the Earth. Mugler’s signature fierce hip and shoulder pads are ever-present, and as strong as ever. The standout pieces? Short dresses adorned with dissected floral appliqués, where the cross-sections and movement of flowers serve as the designer’s muse. Though the overall tone of the show is dark and determined, bursts of colour and vivid fabric details bring brightness to each look.

A foggy black dress emerges midway, enveloping the model like a cloud of mist as if fumigating the blooms. A transparent raincoat adorned with crystal orbs follows, suggesting that rain or shine, these flowers demand admiration. Geometric grids printed on dresses and blazers, paired with matching shoes, emphasize the bold, reimagined Mugler silhouettes. The collection masterfully highlights anatomy—the delicate structures of flowers, insects, and models alike.

Cadwallader’s dialogue with the archive is apparent throughout, yet audacious elements like pearl accents, spotted prints, and coordinating green army and denim sets breathe fresh life into the designs. The collection offers a cultivated bouquet of florals, both thorny and fragrant—a refined yet daring arrangement that is unmistakably Mugler.

Words by Gabrielle Valda Colas

COURRÈGES SS25

Nicolas Di Felice has a unique ability. Not just to create sensually complex pieces or to revolutionize heritage brands—but to find depth in geometric shapes. But unlike the Suprematists before him, it’s not meaning he sees—it’s sensuality. There’s something undeniably appealing about the contrast between sharp edges and the organically curved body. There’s tension in that disparity. Felice’s sex appeal isn’t warm or human; it’s mathematical.

Yet, despite his well-established language, the young designer never forgets the brand he’s tethered to. Even as he revolutionizes what Courrèges means to a younger generation, the original Space Age flair is never far from sight in Di Felice’s vision. This season, that anchor took the shape of a cocoon—an extrapolation from a cape in the brand’s Fall/Winter 1962 collection.

His confidence has sharpened since last season when Felice collaborated with Jean Paul Gaultier on a couture collection. The show opened with an intellectual take on his inspiration: a black leather cocoon coat, its construction both ambitious and flawlessly executed. Later, a similarly voluminous hood returns in lighter jackets. Both pieces share a wonderfully structured stiffness, barely yielding as the models walk.

That was hardly the only gravity-defying piece in the collection. Last season’s invisible mesh tops, which placed angular rectangles in front of the body, have evolved—now, they’re smaller, just enough to cover the model’s chest.

Backstage, he speaks about his fixation on cycles, the central inspiration for his latest collection. But unlike in previous seasons, Di Felice goes beyond the usual circle. This time, he focuses on the Möbius strip, a mathematical marvel that can be achieved with a simple piece of paper—and, not coincidentally, the shape of the metal invitation. In this peculiar ribbon, there’s no beginning or end, no inside or outside, as the two merge. The concept is explored through pieces that present clever illusions, such as tank dresses that appear to be two separate garments but are actually one, held together by cleverly hidden snaps.

Words by Pedro Vasconcelos

ACNE STUDIOS SS25

Home is where the heart is, but domestic life isn’t always rosy. Acne Studios’ Jonny Johansson takes domestic codes and flips them on their head for the brand’s Spring/Summer 2025 collection. In his collaboration with Philadelphia-based artist Jonathan Lyndon Chase, who created the custom homeware and decor at l’Observatoire de Paris, the designer shows that home is at the centre of the inspiration for this offering. 

As the models start to file down the runway, we hear a vibrant soundtrack produced by Mun Sing and we’re ready to take it all in. Knitwear-clad models have slightly dishevelled slick hair, as if they got caught in the stormy Parisian weather. While cardigans are still around this season, this time they’re layered, tied around the shoulders and waist, or worn as bottoms.

Office wear is reimagined in voluminous shapes – through leather suits or green and grey crocodile inflated blazers – whilst moussy skinny trousered suits close the show. Everyday domestic accents are sprinkled into each look with boots in floral print, waxed floral garden gloves, and tartan blazers imitating upholstery. Denim is still around, this time in sets and capacious inflated jeans that almost give a cartoony surrealist feel to the collection. 


The eye is definitely in the detail as Johansson plays with the idea of draped and layered curtains in the dresses, and moth-eaten felt cardigans, sweater vests and dresses add to the home scenery of the show. The collection also feels like an ode to childhood at home where dresses and overalls are two sizes too big and tied at the shoulders, polka dots add an extra fun flair and blue and red crochet sets remind us of the doilies our grandmas kept on the wooden dining table. The re-imagination of household objects and domestic prints is à la fois subtle and incredibly loud, the wistfulness of the collection indicating that nostalgia can be worn and reimagined into clothing.

Words by Gabrielle Valda Colas

CHLOÉ SS25

The appointment of Chemena Kamali as the creative director of the Parisian Maison Chloé was announced exactly one year ago, signalling a return to the timeless vision pioneered by Gaby Aghion and later shaped by Karl Lagerfeld, evoking the brand’s storied legacy.

Kamali had started at Chloé under Phoebe Philo, and the expectations were high. After a successful first show and the official return of hippie chic, the industry counted on her to prove that it was not just beginner's luck.

For her second collection as the creative head of the brand, Kamali presented a bohemian show at the Tennis Club de Paris in a naturistic and minimalistic setting adorned with plants, where savoir-faire and romanticism merged. Reminiscing about the youth culture of the ‘70s, this collection showcases Chloé’s roots and strengths.

Feminine at its core and with flawless constructions, the pieces were distinguished by their volume, soft movement and ethereal forms. Transparencies and loose fabrics created a light vibe throughout the show, while ruffles, bolero-inspired pieces, and babydoll silhouettes resulted in looks displaying a playful innocence.

Lace was the common thread of the looks, present throughout the collection in tops, dresses, ankle-tied corsair pants and delicate lingerie, which created a charming aesthetic. Pastels maintained the cohesion of the collection; however, floral prints in strong colours and large motifs adorned voluminous dresses, creating an unexpected twist to the austere palette. Perfectly tailored high-waisted pants with bell bottoms, along with jackets and long coats, showcased a wardrobe for the city woman, while keeping it fresh.

The collection reinterpreted the house’s codes in a modern way, creating an effortless wardrobe and portraying the feeling of a summer pause. The show denoted Kamali’s knowledge of the Maison and her mastery of meticulously crafted pieces.

Words by Carolina Benjumea

SAINT LAURENT SS25

“Yes.” “Yes.” “Yes.” “Hell yes.” The person next to me when witnessing the latest Saint Laurent show punctuated it perfectly. As each look came out, another euphoric wail rang in my ears. It’s hard to blame them. Saint Laurent’s latest show was nothing short of masterful. 

At first glance, Antony Vaccarello’s latest show appeared to be an extension of the house’s previous menswear presentation, where technically masterful suiting played a central role. But that impression fades upon closer inspection. In reality, the two collections share little in common. The male counterpart of the Saint Laurent suit was achieved through flou—an ancient technique that prioritizes fluidity above all. The tailoring in this new collection, however, was the exact opposite. The suits that graced the runway were anything but fluid; they were commanding.

Strong shoulders gave the suits an imposing presence, broadening the models’ frames as a power play. As Vaccarello noted backstage, this was not about sex appeal—a trope female suiting often falls into—but about authority. The completeness of each look emphasised this point. There wasn’t a bare chest in sight. Every suit was finished with crisp shirts, wide ties, and (not or) opulent accessories. From the top of their glasses to their golden, pointed toes, the Saint Laurent woman exudes power. 

The brand has long been synonymous with female tailoring—Le Smoking is forever etched into fashion history. But something felt different here. These suits weren’t merely lazy nods to the past. The collection’s starting point was the creator himself: based on an interview where Yves Saint Laurent declared himself as the YSL woman, Vaccarello sculpted models in that very image. Heavy-set glasses complemented the suits, many partially covered by equally powerful outerwear. It’s rare for a creator—rather than their creations—to serve as the source of inspiration, but such is the boldness of the house.

In contrast to the precise tailoring, Vaccarello also played with a bohemian allure. Floor-length skirts were first highlighted with bobble necklaces and then muted with oversized leather jackets. Deeply hued tunics over fluid trousers continued the dialogue, one that directly referenced the maison’s history.

Then, after a particularly dark sequence of suits, the commanding tailoring came to a sudden halt—replaced by an opulent explosion of colour. Brocade ensembles maintained similar silhouettes but ventured into diverging hues. Broad-shouldered jackets, lace blouses, and layered skirts blended rich purples, vibrant teals, and seductive reds—creating a striking mix that was both dissonant and harmonious. The Saint Laurent woman contains multitudes. 

Words by Pedro Vasconcelos

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BOTTEGA VENETA SS25

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Upon entering the venue of the Bottega Veneta Spring/Summer 2025 show, a zoo of sorts appeared right in front of the attendees’ eyes. Surrounded by dimmed light, a cornucopia of beanbags in the shape of animals – horses, foxes, rabbits, whales, elephants, you name it – provided the seating for the guests. This playful set-up instantly indicated what’s been on Matthieu Blazy’s mind this season. A sense of childlike wonder permeated the majority of the looks, creating a captivating contrast with the top-of-the-top level of craftsmanship that the Italian luxury brand is known for.

The offering began with a line-up inspired by the desires we have as children to try on our parents’ clothes. The tailoring’s proportions were blown up – the shoulders were ultra-wide and the lapels were almost touching the sleeves. And although Bottega’s signature elegance was out in full force, elements of unabashed glee started to peek through – from plastic-like bags (in leather, of course) with pictures of mermaids to a pink backpack nonchalantly hanging off the shoulder. The farm from the venue further found its way onto the presented garments. Frog brooches decorated long-sleeved dresses and cardigans, while a rabbit was printed on a creased T-shirt. Blazy also continued his favourite game of “Is it leather?” (it usually is), accessorizing the looks with woven flowers, shiny lunch bags, and even creating a sequined skirt made completely out of leather paillettes. The collection closed with a range of silhouettes paired with extravagant shaggy and spiky hats – a beautiful exclamation point to Blazy’s joyous vision for next spring.

Words by Martin Onufrowicz

LORO PIANA SS25

When it comes to next spring, in Loro Piana’s view, a hat is of the essence. Presenting their Spring/Summer 2025 collection in Milan, the Italian luxury brand showcased a wide variety of elegant headwear with majority of the looks – from wool and woven pillbox shapes to sailor-inspired hats and more abstract propositions resembling a tied headscarf. The accessories excellence was displayed further in the shape of mules in sturdy silk and supple leather, inspired by the traditional Moroccan babouche slippers, and the playful bags constructed out of a silk scarf and detachable strap. 

As for the clothes, the collection featured an abundance of sophisticated silhouettes for day and night. A brown wool blazer had its lapels erased and was paired with a flowy tunic and loose trousers. A short suited set was complimented by mules on a chunky heel (worn with cashmere socks). As for the eveningwear attire, a knee-length dress was given a dramatic flair in the shape of a cape-like draping on top, while a see-through pleated skirt and blouse with billowy sleeves were styled with a fitted and cropped vest.

Words by Martin Onufrowicz

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DIESEL SS25

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As soon as guests stepped into the venue for the Diesel Spring/Summer 2025 show, it was a denim overload. The space, filled with almost 15,000 kg worth of denim scraps, was part of an immersive experience. Over the speakers, an AI voice recited the Wikipedia entry on denim. Since his appointment to the Italian brand, Glenn Martens has remained true to Diesel’s DNA. Even when he ventures creatively—last season’s waxed braided knitwear is still fresh in our minds—Diesel proudly remains a denim brand.

Martens' tenure has not only been creatively prosperous but has also marked a shift in the brand's sustainability practices. Under his leadership, the use of organic or recycled cotton has increased from 3% to 57%. We can exhale—the scraps that flood the venue floor will be repurposed too.

Aesthetically, this season felt like a paring back, a more minimalist approach compared to previous collections. In place of vibrant colours or seductively sheer creations, Martens created a homecoming of sorts. The collection opened with a series of distressed looks, with denim strings used as fringe, laces, and scarves.

The fraying extended beyond its original medium. Leather pieces had open wounds, bleeding fringe to mimic a distressed material. A Prince of Wales printed leather section was particularly mouthwatering. 

Leather was transformed and printed on to emulate denim with uncanny precision. There's an irony in that: leather, a more expensive textile, undergoes an equally costly process to resemble a more affordable material. But that encapsulates Diesel perfectly—as the voice that echoed through the venue before the show declared, "Diesel is denim."

Words by Pedro Vasconcelos

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