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

DRIES VAN NOTEN SS25

Deciding to step away from the limelight while still at the top of your game is a sign of incredible self-assurance. With his last show before retiring, Dries Van Noten presented a Spring/Summer 2025 collection for his eponymous label that confidently looked back on his nearly 40-year-old career.

References to the brand’s history were ever-present. The silver leaf catwalk riffed on a similar set design from the Fall 2006 show. A line-up of Van Noten’s favourite models made an appearance during the farewell – from Alain Gossuin opening the show in an elongated double-breasted coat worn with furry sandals to Malgosia Bela and Karen Elson, both clad in boxy tailoring looks. All of the designer’s staples were weaved throughout the offering, showing the timeless appeal of Van Noten’s vocabulary. His signature mix of masculine and feminine, as well as clashes of colours and textures, manifested itself in looks that juxtaposed chiffon garments in salmon pink and baby blue with sharp suiting.

It wouldn’t be a Dries collection without the expression of his adoration for flowers in the shape of striking prints, this time in muted greys, pale greens and dusty pinks. The show closed with the designer’s other big love – metallics. Shimmering voluminous tops, shorts and jackets were paired with classic pieces in grey, black and khaki. The very last look revealed a peek of the glistening trousers under a long black coat reminiscent of the one showcased at the very beginning.

As he was taking his final bow to David Bowie’s Sound & Vision,  Van Noten seemed to have a sense of calm fulfilment in his smile.  Now he can focus on his other passion–gardening–knowing that he’s left his mark on fashion forever.

Words by Martin Onufrowicz

LOEWE SS25

Celebrating the first collection of his decade-long tenure at Loewe, Jonathan Anderson presented (in)arguably one of the season's best propositions.

Anderson’s usual modus operandi, where an artist collaboration is used as a creative springboard for a complex narrative, was slightly tweaked for Spring/Summer 2025. As a birthday treat, the designer allowed us to peek into his seemingly endless well of inspiration. The venue was filled with the designer’s biggest influences, from Peter Hujar’s photography to Charles Rennie Mackintosh’s chairs. And, of course, the cheeky inclusion of Susan Sontag’s Against Interpretation didn’t go unnoticed.

As far as the collection goes, Anderson perfectly encapsulated his philosophy for the menswear line at Loewe: a heavy emphasis on craft complemented by surreal yet elegant sexuality. Cropped shirts and polos were intertwined with pants through a belt that looped around the hip, leaving a seemingly magical empty space at the waist, revealing the model’s body. Anderson works the body like a sculptor, showing an intellectual sensuality. Through his clothing, the human form is clay—he modulates it at will. Oversized pants are gathered to one side, creating exaggerated pleats on one leg only.

Further surreal explorations are made in a trouser and polo looks. The latter’s collar melted through the former’s waist, once again revealing the bare body underneath. Jaw-dropping vests are continued proof of Loewe’s savoir-faire. Appearing in multi-chrome, gold, and silver options, the carefully linked vests shone peculiarly under the filtered sunlight that filled the venue.

The collection reassures us of Jonathan Anderson’s status. With a gift for creating viral moments (which just in the past few weeks include a steamy “got milk?”-like campaign and a tomato clutch) and undeniable design ability, Anderson’s climax is evergreen.

Words by Pedro Vasconcelos

DIOR MEN SS25

For his 60th collection for Dior in six years, Kim Jones decided to explore one of his obsessions. Instead of seeking inspiration from a historical figure or a familiar connection, the designer simply looked up at his bookshelves. Hylton Nel’s pottery fills the shelves of Jones’ country house, and this season, it filled his runway. Blown-up versions of Nel’s pieces punctuated the show space. If the giant sculptures weren’t enough to convey the collection’s starting points, the first model made it abundantly clear. A mandarin collar two-piece set was accessorised with a regular-sized ceramic piece in sage green.

Nel’s influence throughout the collection appeared in various forms. Animal motifs were printed, embroidered, and strategically placed in studs. Ceramic animals were used in pairs as buttons for sweet, knitted vests. The artist’s quirky animals appeared in pops of colour on classic knit sweaters. The ceramic inspiration escaped the garments and into the model’s heads, some had their hair polished perfectly in order to resemble vases.

Jones’ ventures into the realm of male couture were made in subtle ways, especially compared to his previous show. Beautifully placed crystal embroidery adorned the cuffs and collars of two stiff coats, first in taupe, then in beige.

Words by Pedro Vasconcelos

COURRÈGES SS25

Courrèges Spring/Summer 2025 collection proves there are always ways to make good out of a bad situation. In Paris, late spring, usually a harbinger of hope for warmer days, was instead a melancholic amalgamation of unpleasant rain and unpredictable cold. Inspired by the weather despair he felt when designing his latest offering, Nicolas di Felice presents a classic Courrèges collection, tailoring functionality for elegance's sake.

His inspiration is crystal clear from the beginning - the collection opens with four trench coats. Typical cold weather silhouettes are reinvented through lightweight fabrics and deconstructed touches. Satin, canvas, and raw denim are ever-present, most notably used in ‘70s-inspired looks. The brand’s identity in the decade is mentioned frequently, particularly in asymmetric button tabs. 

Di Felice thrives in his exploration of geometric shapes. This season, the fascination is manifested in incredible “magic square” tops -  a clear standout in the collection. Presented in both men's and women’s offerings, the deceptive garment makes it so a square of fabric appears to be floating on the body, devoid of any tattered attachments. The palette is, as always, strikingly neutral, albeit this season also includes slight pops of red and hiking-inspired abstract graphics. 

Words by Pedro Vasconcelos

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EGON LAB SS25

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Egon Lab has a knack for obscure themes. This season’s inspiration is the obscurity itself. Titled Notes from the Underground, for Spring/Summer 2025, the creative duo behind the brand find their starting point in the silenced voices of those living on the margins. The collection, presented through a campaign shot in London, deepens the darker narrative Egon Lab has dabbled in for the past few seasons. 

Tartan ran supreme - an underground collection shot in London would be sinful without it. From full skin-tight sheer ensembles to the brand’s classic structured suits, red, green, and blue checkered patterns blend right into the British landscape. Other (not so subtle) nods to the collection’s surroundings were made through bearskin caps that double as voluminous bags. 

Sportswear-inspired looks lightened a conceptually rich collection. With football ensembles and shirts made to resemble academic branded t-shirts, Egon Lab’s club has never been so easy to root for.

Words by Martin Onufrowicz

KENZO SS25

Three years into his tenure as the artistic director of Kenzo, Nigo has showcased a collection for Spring/Summer 2025 that confidently executes his vision for the house. Throughout his menswear proposition, the Japanese designer has successfully mixed casual pieces with more formal designs. A yellow fishing vest was paired with billowy pleated trousers in the same hue. A sleeveless blue set in bamboo leaf print can seamlessly transition from day to night. A black tailored jacket with embroidery blending the image of the Eiffel Tower with traditional Japanese imagery is contrasted with a white mesh zip-up hoodie worn underneath. The womenswear section of the show displayed some of Nigo’s most elegant offerings to date. Silk dresses in yellow, orange and burgundy were adorned with cascading fringes. A flower-printed total look revealed a peak of tailored trousers under a sharply constructed trench coat. The designer’s cheerful colour palette came to a brilliant climax in the form of a crochet look with a halter neck top and a long skirt skimming the golden sand.

Words by Martin Onufrowicz

LGN LOUIS GABRIEL NOUCHI SS25

Known for centring his collections around his favourite books, this season, Louis Gabriel Nouchi decided to extend his scope of inspiration. Stepping outside of explicitly literary themes, the designer opted for a mix of references – from Patrick Süskind’s gripping bestseller Perfume: The Story of a Murderer to Lucio Fontana’s dramatic slasher artworks and the sensuality of Azzedine Alaïa’s body-hugging creations. The former, a story of an obsessive perfumer who turns to murder to capture “the ultimate scent”, presented itself in LGN’s colour palette and fabrications. A third of the show’s looks came in a rich oxblood hue, from silky suits to leather-panelling dresses and even an apron with a print reminiscent of blood splashes. Fontana’s works made their way into the collection in the shape of T-shirts with a delicate opening in the middle and knits with a much more explicit slit giving a peak of pecs – paired with a sharp blazer and voluminous black leather trousers. Over the past couple of years, Nouchi has successfully managed to create a strong vocabulary of hot design and with his Spring/Summer 2025 proposition, LGN is more carnal than ever.

Words by Martin Onufrowicz

ACNE STUDIOS SS25

Female superheroes are undoubtedly more interesting than their male counterparts. From their gravity-defying costumes to their unshakeable coiffed hair, women in comic books have to do everything men do but with high heels on. Captivated by their allure, Jonny Johansson presents a menswear collection riddled with even more stylized versions of DC superheroes. From embroideries on interestingly shaped bags to colourful prints, the likes of Superwoman are integrated beautifully into a classic Acne Studios collection.

For Spring/Summer 2025, Johansson upholds his manicured brand of grunge. Trompe l’oeil jeans replicate battered and bruised trousers, while thick leather belts constrain denim miniskirts. The designer has fun with some of his most adored pieces—the post-coquette bow bag gets a cargo makeover. Presented through a lookbook shot by Jordan Hemingway and modelled by choreographer Jordan Robson, the offering has a characteristic edge. Even the collection’s closing looks make the formal delinquent.

Words by Pedro Vasconcelos

BURC AKYOL SS25

Burc Akyol loves to blur the lines of gender expression – and he knows how to do it well too! The French-Turkish designer’s Spring/Summer 2025 collection evoked the sensuality of Studio 54, albeit in its most streamlined version – think Bianca Jagger in her iconic white suit. The show opened with a masterfully tailored double-breasted jacket, paired with white chiffon harem pants and a silk headscarf. This allure of the 1970s permeated the majority of the looks. The white tuxedo shirt has been reworked into a tunic with an opening exposing tailored bellbottom trousers, which in another set have been presented with a sleeveless peplum top – two propositions eliciting Jacques de Bascher’s androgynous spirit. The collection climaxed with a selection of silhouettes in sheer fabrics, which over the past couple of years have become Akyol’s signature. A black floor-length dress with draping covering the bust exposed the model’s torso, while a dramatic satin gown has been juxtaposed with a see-through mini worn on top – making a modern statement on nighttime attire.

Words by Martin Onufrowicz

GUCCI SS25

This season, Sabato De Sarno presented a collection that took his vision for Gucci on a beach getaway. For Spring/Summer 2025, the designer celebrated his second menswear show with a proposition rich in floral and surfer prints. 

Known for his love of bare legs, De Sarno has found the perfect excuse to revel in one of his signatures – a summer collection. The show opens on that exact note, with a lime-green leather coat and tiny shorts.  

Throughout the offering, the designer walks the fine line he’s accustomed us to. The balancing act between sensuality and eccentricity is done beautifully. Green shirts, in both long and short-sleeved versions, are entirely covered with crystal fringe. A pair of shorter-than-short shorts in Ancora red is accessorised with a suggestive choker. Striped rugby shirts are magically made of square paillettes. Neutral sets hide shorts under long shirts. 

The impressive luxurious escapades in between timeless looks are ever-present in De Sarno’s Gucci. But, this season, the designer begins swaying from his characteristic combination through the introduction of bold graphic prints. Exaggerated short-sleeved shirts present flowers and surfing men in lilac, green and orange. It's through these the inspiration for the collection is revealed. Surfing is explored not as a sport but as a means to achieve freedom. Sabato de Sarno keeps growing his reach – print by print, bead by bead, the designer is building his vision for Gucci.

Words by Pedro Vasconcelos

GIORGIO ARMANI SS25

There’s nothing quite like an Armani vacation. For Giorgio Armani’s Spring/Summer 2025 collection, the legendary designer takes us along to his version of the tropics, where neutrals still rule, and tailoring is as much beachwear as any kaftan.

The runway was transformed into a summer dream: a terrace filled with nothing but palm leaf shadows and comfortable chairs. As the first looks appeared, the setting was complete. Effortless layering in taupe, light blues, and mild greys sauntered down the runway. The jackets? Unlined. The shirts? Silky. Armani is, as always, an idiosyncratic tailor. His characteristic silhouette is unmistakably his. Double-breasted in an approachable silver stands out, as do the 1970s-inspired collars on light shirts. 

As the collection progresses, monochromatic looks get subtly darker. Along the gradient from taupe to midnight blue, the palm leaves that adorn the floor make their way onto garments, at times subtly, at others more noticeably, like in negative prints on T-shirts. With naked chests and linen pants, Armani envisions summer not as it is, but as it should be.

Words by Pedro Vasconcelos

JW ANDERSON SS25

In the fashion cycle, one thing is a welcome constant – Jonathan Anderson is always bursting with creativity. For his men’s SS25 and women’s resort collection, the Northern Irish designer has played around with the idea of “irrational clothing”. The show opened with silk liner jackets in pastels which thrived in their oversized nature. This was a telling sign of what’s to come. Throughout the presentation, Anderson showcased a display of über-desirable outerwear propositions – from hooded jackets sitting on the body as if blown up from inside and mullet bombers to leather jackets with extra-large pockets.

Anderson loves an optical illusion and continues to push the concept into brilliant results. The bags borrowed design details from loafers, while sweaters and knit dresses resembled classic English houses, giving a humorous take on the cottage-core craze. As for the array of jumpers emblazoned with the Guinness logo? Well, Anderson is a big fan of the Irish drink and if you share his taste in beverages, you can express it with one of his pieces come next spring.

Words by Martin Onufrowicz

PRADA SS25

For Prada Spring/Summer 2025, Miuccia Prada and Raf Simons gave us exactly what we wanted. In a light, youthful collection, the duo translated the formula that has made Prada’s sister brand so successful. Miu Miu’s offbeat youthfulness is immaculately conveyed through shrunken silhouettes, disturbingly vibrant colours, and an expected intellectual backing.

The show opened as most Prada shows do, with a fun twist. A little white house built on a platform lit up as the venue dimmed, pulsating both light and sound. Eventually, morning came, and models paraded down from the house onto the runway.

Immediately, crumpled and colourful knits set the tone. Shirts were folded and wrinkled in odd ways. Oversized leather coats had awkwardly short sleeves. Shrunken sweaters and a cropped nylon jacket revealed the models' waists. Trompe-l’œil was a constant, from polo collars on knitwear to light cotton trousers printed to resemble heavy wool.

The most striking part of the collection was undoubtedly the twisted collars, built through wires hidden in shirt seams. Prada’s Fall/Winter 2023 exaggerated collars were revisited in crumpled shapes. The uncanny playfulness trickled down to trousers, most with belts placed below the waistline, sewn into the trousers to sit centimetres away from their natural standing line.

These small details are little crumbs—oh, how we love to be fed by Mrs. Prada. Titled Closer the powerhouse design duo intentionally plays with perception. Clothes become metaphors for the need for connection. Proximity is discussed as a need, an imperative to understand human imperfection. Wrinkled clothes, ill-fitting coats, crumpled silhouettes—there’s a freedom in Prada’s planned spontaneity.

Words by Pedro Vasconcelos

EMPORIO ARMANI SS25

This season, Giorgio Armani took us on a rodeo. His Spring/Summer 2025 collection for Emporio Armani was peppered with references to horseback riding, from chunky suede boots with trousers tucked inside to leather harnesses and cowboy hats made of straw. The collection opened with an Armani summer staple – a parade of impeccably tailored and utterly light suits in the Italian designer’s favoured palette of grey and beige. And since Mr. Armani had horses on his mind, the signature looks were cinched at the bottom of the leg with zippers, exposing chocolate brown lace-up boots in all their glory. The offering then continued with incredibly desirable billowy silhouettes. Boiler suits with western pockets were paired with suede Mary-Janes. Double-layered vest with tassels was worn with roomy pleated trousers. Pistachio green suit jacket impressed with its extra-large lapels and elongated structure. The show closed with a section of looks in rich green and purple evoking the lavender fields of Provence, possibly revealing Mr. Armani’s upcoming holiday destination.

Words by Martin Onufrowicz

FENDI SS25

In fashion, celebration doesn’t require a reason. However, if it did, a centenary would certainly suffice. The house of Fendi is gearing up to celebrate its 100th anniversary in 2025, and Silvia Venturini Fendi has the honour (or rather, birthright) of introducing the first celebratory collection. For it, the designer delved deep into her family’s archives and emerged with a self-referential yet lighthearted proposition.

To honour the brand’s long-standing legacy, Venturini Fendi introduced a house crest featuring the Lagerfeld-designed double F logo, the ancestral Pequin stripe, an image of the Roman god Janus, and a squirrel. The latter directly references Edoardo Fendi, co-founder of the Maison, and his pet name for his wife, Venturini Fendi’s grandmother, Adele. Subtle nods to the history of Fendi were peppered throughout the 57 looks. Selleria stitching, one of the brand’s first house codes—adopted by its founders from Roman saddlery techniques—was omnipresent. Embossed in leather overcoats, embroidered in denim, and patched in the classic Baguette bag, the distinctive stitching was brought to the forefront.

The designer went beyond a mere celebration; Fendi was transformed into a literal club. Football jerseys and rugby T-shirts proudly announced the house’s name. The youthful feel of sportswear made sense in a young, preppy collection. Diagonal buttons liberated the shoulder, revealing them sensually as the models walked. Furry overshirts offered whimsical punctuation while playing on one of the brand’s most important tropes. Venturini Fendi asserts her family’s legacy perfectly, revelling in the fact that, above all, Fendi is (fur) fun.

Words by Pedro Vasconcelos

DOLCE & GABBANA SS25

With their latest offering for Spring/Summer 2025, Dolce & Gabbana leaned into the romantic vision of Italian holidays. The collection, built around classic menswear codes, explored transforming wardrobe staples into statement pieces. T-shirts were oversized and made out of cream macramé. Short-sleeved button-ups were constructed out of raffia and paired with the shortest of shorts. Striped suits were decorated with elongated belts dangling as the models walked down the runway. The show also played around with more feminine accents, from billowy blouses with deep necklines tucked into richly embroidered shorts to D&G’s accessory of the season – printed silk scarfs – which were worn with short-sleeved wool turtlenecks and textured tank tops or tied around the waist as belts.

Words by Martin Onufrowicz

MSGM SS25

Fifteen years since the launch of his label MSGM, Massimo Giorgetti presented a collection that played around with the tropes of the summer Riviera aesthetic. In his latest show for the brand, combining men’s SS25 and women’s resort 2025 lines, the Italian designer looked into the clichés associated with the nautical look and put them through his humorous prism – from Breton long sleeves with stripes taking the form of waves and sailor hats which resembled paper boats to souvenir shop hoodies and dresses made of the terry material (with a bucket hat to match). In his take on the seaside dressing, Giorgetti embraced his childhood memories of vacation, embellishing his pieces with depictions of the sun, dolphins and crabs. Never afraid of a vibrant colour palette, the designer let his creative flag fly with this latest proposition – juxtaposing classic blues and whites with rich reds and acidic yellows. A staple on the Milan Fashion Week schedule, Giorgetti once again proved that one of the key elements of longevity is refusing to let go of the sense of fun in the process.

Words by Martin Onufrowicz

CELINE HOMME FW24

Six years into his tenure at Celine, Hedi Slimane continues to expand the house’s aesthetic legacy. The secret to his unceasing success lies in his ability to use what he's best known for to wordlessly broaden the definition of what Celine means today. The brand’s Homme Fall/Winter 2024 collection, titled Symphonie Fantastique is just that - an intricate orchestra of references, all masterfully conducted by Slimane.

Named after a symphony by Hector Berlioz from 1830, the composition is often considered an innovative precursor to psychedelic music. The creative director reminisces about the first time he heard it when he was just 11 years old, remembering his immediate infatuation with the piece. The track – which plays for the entire 14-minute movie presenting the menswear collection – remains one of Slimane’s personal favourites. Labelling Celine’s digital show as a film isn’t accidental; Slimane’s knack for the cinematic is on full display. In the Mojave Desert, a fleet of Celine helicopters descends from the sky, dropping off a similarly branded jukebox that catalyses the soundtrack inspiring the show’s name.

In black and white, a grievous procession of Cadillacs commences. Slowly, models start to walk on the asphalt runway. As in his previous womenswear collection, the 1960s inspiration is in full swing: slim leather jackets, collarless cropped blazers, slim pants, elegant boots - all capped by shaggy hairdos.

But the decade’s inspiration isn’t the only element carried over from Slimane’s previous show. The creative director expands his couture offerings with encrusted capes and glittering suits that shine brilliantly under the blazing desert sun. The designer’s more intricate pieces don’t feel self-indulgent; even when approaching the peak of luxury, he maintains a subdued coolness. Perhaps subdued isn’t the first word that comes to mind when watching the fully rhinestone gold coat walk down the empty road, but there’s a refreshing sobriety to Slimane’s extravagance.

Yet even among glittering capes and shiny suits, the collection’s most exciting feat is Slimane’s comeback to his design origins. Having built his name on sharp and slim tailoring, Celine’s Homme Fall/Winter 2024 collection marks a return to form. Slender silhouettes and pinstripe three-piece suits are a joyous reminder of the designer’s biggest strength.

The collection’s Western flair is unmistakable. Between aerial shots of the mountains and clips of Brayden Libero (a real-life cowboy) and his horse, Frijole, Slimane dips into the Western revival in pop culture. It isn’t just in the mood of the show; subtly flared pants and wide-brimmed hats find their natural habitat in the desert background.

Words by Pedro Vasconcelos

GUCCI CRUISE 24/25

In 1897, Guccio Gucci served as a bellboy at the Savoy Hotel. 127 years later, Kate Moss roams through the corridors of the British landmark in a slinky lingerie minidress and a giant coat as a prelude to Gucci’s cruise 2024/25 show. Despite the impact of the British capital on the brand’s heritage, the London Sabato de Sarno sees is far off from the Victorian city Gucci’s founder encountered.

Naturally, Gucci’s show took place in a London landmark that speaks to this new vision: the Tate Modern, or more specifically, the Blavatnik Building - De Sarno has an undeniable preference for brutalist settings. This time, however, the industrial edge is met with a natural softness, as the concrete walls magically grow vegetation.

Descending from the spiral staircase came the first looks. Neutral, wearable, and classic; denim was paired with caramel suede and pale yellow chiffon. The signature Ancora red wasn’t just present in the bannisters outside the museum, it was frequently seen as a pop of colour in neutral looks or monochromatic playsuits and full leather sets.

Despite the distance from De Sarno’s and Guccio Gucci’s London, there were some faint Victorian tinges, particularly in intricate white lace pieces ranging from skimpy sets to tight maxi dresses.

As it has become the custom of the new Gucci, simplicity is frequently cut with elaborate luxury. For the cruise collection, intricate embroideries and mind-bending embellishments were an elegant display of craft. An empire silhouette dress utilised the curious embellishing technique to distort colourful tartan into delicate fringe that blended light pink into a deep sage green as it descended the body. The square fringe embellishments, perhaps an allusion to the stereotypically British pattern, were again seen in oversized minidresses and light green sets.

Bags were both mini and maxi, the latter inflating the classic Jackie model into assertively practical proportions.  Completely transparent sets of short-sleeve shirts and long skirts revived the original purpose of a cruise collection - holiday wear.

The collection reached its end on a striking note, with pleated flowy dresses sensually grazing the green and grey maze as the models walked back up the imposing staircase. 

Words by Pedro Vasconcelos

CHANEL CRUISE 24/25

Last season, Virginie Viard brought the Atlantic seaside to Paris, but for Chanel’s cruise 2024/2025 collection, the designer juxtaposes Parisian sensibilities with the Mediterranean breeze. Presented in Marseille, the cultural mecca of the French Mediterranean coast, the show was a fun, lighter take on the Chanel identity, intertwining classic house codes with a sabbatical edge.

Over Viard’s reign at the helm of Chanel, the designer has deepened the brand’s connection to film, effortlessly blending cinematic narratives with the clothes she creates. For this cruise season, the film that preceded it was a dynamic portrayal of Marseille as a city of both deep history and effervescent creative culture. Dancers of the Ballet National de Marseille danced with Marion Barbeau in the city’s most identifiable landmarks. The preview for the movie (and the collection) ended atop the MAMO Centre d'art de la Cité radieuse de Marseille. The show picked up right where the short preview left off, on the roof of the iconic building.

The collection opened with a classic tweed Chanel suit in a bubbly shade of green, unorthodoxly paired with a thin grey hoodie. If taken as a casual styling decision at first, hoods proved to be a constant, at times used to lighten up classic silhouettes, and at others to fulfil practical necessities. Yes, a Chanel scuba mini-dress is a necessity.

Crochet was woven throughout the show, from grey miniskirt-and-cardigan sets to halter mini dresses, adding to the youthful feel. There were space-age inclinations, like a silver plaid mini and jacket set, monochromatically matched with a ribbed tank top. Multicoloured pebbled pockets mirrored the show’s location, drawing inspiration from the retro-futuristic energy that emanates from the museum. The collection culminated in 12 white looks that ranged from extremely casual to what could only be described as appropriate beach wedding attire. 

Under Viard’s guidance, Marseille becomes Chanel’s playground. From two films directed by Ladj Ly to a photo diary by Jamie Hawkesworth, with time for a broadcast appropriately named Radio Chanel, the brand doesn’t just use the city’s cultural atmosphere for inspiration, it actively contributes to it. 

Words by Pedro Vasconcelos

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