Even though this season’s schedule is a little more condensed than usual, there was much to look out for. Haider Ackermann’s debut for Tom Ford was rumored to be better than Ford’s take on the house, and Julie Kegels was the talk of the town. The absence of some big houses made room for emerging designers to enter the story overall. And that was about time. Discover the best of Paris Fashion Week Fall/Winter 2025 below. Cover image: courtesy of Chloé
FASHION WEEK SCHEDULE 2025: A COMPLETE GUIDE TO THE RUNWAY
PARIS FASHION WEEK FALL/WINTER 2025
Paris Fashion Week has always been the backbone of the fashion industry, and this season formed no exception. It still is and will be the epicenter of luxury fashion for the foreseeable future. And where more minor fashion weeks, like Copenhagen and Berlin, but recently also London, are epicenters for emerging talent, this Paris Fashion Week was all about debuts. There was Julie Kegels, with her eponymous brand that set the stage for a promising future for the brand; Florentina Leitner, who opted for reinterpretations of school uniforms; Meryll Rogge’s collection about precious wallpapers left a mark on the fashion crowd; and Jen Fang’s design philosophy centered around “ordinary girls” is undoubtedly just the start of a fruitful future for Jenny Fax.
That wasn’t all, obviously. With the recent reshuffle of creative directors and fashion designers, there were established debuts, too. Haider Ackermann for Tom Ford received a standing ovation, and on social media, people wondered if he gets the brand more than Mister Ford himself. Ackermann presented a future-proof version of it, that’s for sure. Even though a few missed Sarah Burton’s debut at Givenchy due to a WWII landmine found near Gare du Nord, it was the talk of the town. Her designs and show made everything click. As usual, debut collections delve into the rich history of a house, and Burton’s take on Givenchy was no exception. Discover the best of Paris Fashion Week Fall/Winter 2025 below.
PARIS FASHION WEEK’S NEWCOMERS AND ONES TO WATCH
Newcomers and emerging talent are usually affiliated with fashion cities like London, Copenhagen, and Berlin. Still, Paris Fashion Week Fall/Winter 2025 showed that there is enough space on the schedule for them. There were many names to watch: from EENK to Florentina Leitner to Sonia Carrasco, Meryll Rogge, and Jenny Fax—but to be honest, the list is endless.
The South Korean brand EENK has grown exponentially over the past seasons and is now shown at Palais de Tokyo. It is shown along with RE RHEE and MMAM as part of Concept Korea. EENK, founded by designer Lee Hyemee, is about creating collectibles rather than season-bound clothes. Her Fall/Winter 2025 collection featured layered coats and delicate silk fabrics that appeared to float in the air; the collection balanced traditional elements with modern aesthetics, presenting a distinctive fusion of Eastern and Western artistry. The Letter Project launched a few seasons ago, lets every collection focus on a single letter. This season, it was B’s turn. B stands for binding, referring to books. “We paid attention to the process and result of how words come together to form sentences, how sentences are connected to form a story, and how sheets of paper are bound together to form a book,” the creative director explained about the collection filled with delicate silks, and flowy garments.
Florentina Leitner’s Fall/Winter 2025 collection is about throwing back to college and becoming the ultimate cheer captain—until aliens suddenly abduct you. Inspired by the cult anime DANDADAN (Japanese anime series), the collection fuses supernatural elements with youthful rebellion, offering a fresh take on the high school aesthetic and alien invasions. It’s typically Leitner: creating an otherworld experience and melting it into a collection and story that somehow makes sense. Some sparkly oversized polos and sweaters made total sense yet were as quirky as Leitner likes them to be.
Meryll Rogge’s collection may be based on flower-printed wallpaper, but it wasn’t for wallflowers. For her latest collection, the Belgian creative director immersed herself in the work of artist Gordon Matta-Clark, known for creating temporary art installations near soon-to-be constructed buildings. The crumbling of the beauty fascinated Rogge endlessly. Combined with Ghent’s famous printed vintage wallpapers at Priem shop, you get an exciting cocktail of what Rogge is best at: a fascinating reinterpretation of the meaning of beauty. There was an equal amount of structure, softness, and a mix and match of womenswear and menswear. They wear sturdy coats, flowy lingerie, and classic tailoring with a Rogge touch. And, entirely in line with the show’s energy, champagne and croissants were served afterward—a perfect Sunday morning.
Jen Fang’s design philosophy for Jex Fax is about celebrating real women—challenging outdated beauty standards and redefining what fashion can be. She creates pieces that honor the natural shape and lifestyle of every “ordinary girl,” as she calls them, rather than forcing them into traditional ideals. This idea forms in her silicone corset—3D-scanned from her body. A striking statement on self-acceptance and creative freedom, the creative director explained, proving that beauty doesn’t have to fit a mold.
CHANEL
Chanel’s design team must have found it challenging to develop a final collection before Matthieu Blazy took over the creative helm. How do you progress and stay close to the house’s codes when you know everything might change all over again? They did a great job, however. Karl Lagerfeld was great at catching the zeitgeist and pop culture and reflecting on it. The design team took notes. “A theatre of dreamlike illusions,” they referred to it. It played on scales of size, length, and proportion. The elongated sweatshirts were striking and perfectly suited for the front row’s VICs. Besides the many blacks, there were some fresh color combinations, too: baby pink with the ultimate color of the year (red, obviously). Thanks to the add-ons of exaggerated accessories like knee-long necklaces, it worked very well. The color palette might function as a preview of Matthieu Blazy’s work for the house. At Bottega Veneta, Blazy was praised for his use of color. While it’s only a wild guess, it might also be the right direction for Chanel.
MIU MIU
The recent revival of vintage and ladylike ways of dressing was perfectly reflected in Miu Miu’s latest collection. One might argue whether it’s good to yearn for times when women’s rights weren’t at their best. But hey, are they now? Miuccia Prada referenced this collective sense of yearning by returning to pleated midi skirts, fake fur, classic pea coats, and clip-on earrings. There were even bullet bras. We need this kind of femininity to lift moods in difficult times, Miuccia Prada told WWD backstage. And that’s not as conservative as it may sound at first hand—after all, the words come from Miss Prada. Looking at the casting – including all genders – it becomes clear that modern femininity isn’t solely reserved for women.
LOUIS VUITTON
Train stations and platforms aren’t known places to spot high-end design but are a melting pot of everyone and everything. Even though unusual, it’s where Nicolas Ghesquière drew inspiration from. And it’s a genius bet, with a world mainly consisting of commuting citizens since we’ve had a pandemic break. To add a little signature Ghesquière, the creative director added some movie references, of which Agatha Christie whodunits played a significant role. It resulted in an eclectic ensemble of colorful looks, depicting all kinds of travelers—including the train crew. One model wearing a ukulele was undoubtedly the most striking, likely referencing Marilyn Monroe in “Some Like It Hot.”
“The Fall-Winter 2025-2026 collection pulls into a station where all emotions converge. Impatience with the ticking of the clock. At the end of the same platform is the hopefulness of love or the melancholy of separation. The enthusiasm of departure or the comfort of return. The euphoria of discovery. The exhilaration of travel…” the press release explained further, revealing “the rush of anonymous feelings.” Telling stories that touch everyone seemed to be the primary rationale, evoking emotions familiar to a diverse group of people, like Louis Vuitton’s customers. And that travel is part of the house’s DNA, makes everything click, just as Kraftwerk’s “Trans Europe Express” did. And so, Nicolas Ghesquière striked again.
HERMÈS
Social media is abuzz with imagery of Jean Paul Gaultier’s time at Hermès. Many praise its seductiveness, and people can’t stop talking about Gaultier’s inventiveness with reworks of classic Hermès staples. It won’t take long before it happens to Nadège Vanhee’s designs. This was her most seductive collection to date. “Sculptural, resilient, seductive,” Hermès describes the collection in a press release. Even though she reinterpreted the house’s codes and most popular designs (also from the men’s section), she nailed it. The leather coats and jackets had great shapes, with invisible closings and brogue details. And, where every designer house uses leather this season, Hermès remains solely at the top in terms of quality and craftsmanship. This season’s coats underscored it, most of them reversible. And then there were Hermès interpretations of the cowboy boot (!), countless variations of classic Hermès bags (with vilt details that somehow made a lot of sense), and a new one that still doesn’t have a name. Overall, Vanhee’s creativity seemed endless, and now we’re waiting for the invite for the name reveal party of Hermès’ newest love child: a tiny handbag.
VAUTRAIT
“While creating this collection, I understood there is no closure. Perhaps this is why one collection always follows another—there is never a finish line, never a definitive answer, only the question that persists. It may shift in angle or narrative, but it remains the same at its core—a question that will never find resolution. In this sense, fashion stands in contrast to technology or science, which tend to move past such unanswerable questions, seeking only what can be measured or solved. But this question belongs to a different order, one tied to secrecy, to a space beyond logic and language. It resembles an agent carrying a secret within a suitcase—a secret he cannot access. Perhaps that is its condition: to remain hidden, never fully revealed,” Vautrait’s Yonathan Carmel explained about the collection. It led the designer to a collection of muted statement looks that will look as good on ordinary people on ordinary days. That doesn’t mean the clothes were ordinary, though. Mind you, they were anything but. Reworked archival pieces were transformed into entirely new looks that felt like a modern reference to the past. Pleated floor-sweeping skirts peeked out from underneath sculptural coats and dresses just made sense. They do so even more when you know Vautrait’s mission: to create clothes that age well with the body instead of creating an ideal image. Going beyond the system that establishes the temporary and disposable, Vautrait deserves a rightful place at Paris Fashion Week.
SCHIAPARELLI
One thing Schiaparelli always does well is dressing the women of the moment. Enter Doechii, appearing on every front row and being the surprise act at the Louvre dinner’s spectacular after-party. The Schiaparelli women of the past, present, and future formed Daniel Roseberry’s primary source of inspiration for the season. “My observations reminded me that the women I know rarely, if ever, dress for men. When they dress up, it’s for other women, and women’s praise matters to them. Elsa, too, had little time for the male gaze: Yes, she collaborated with many male artists. But though her clothes may have been made with them, they weren’t meant to be looked at by them.” It was Roseberry’s most daring collection, including references to his roots in Texas. Buckle belts, cowboy referencing, and leather pants revealed that – just like Jonny Johanssen – Roseberry tapped into his youth memories during the design phase.
GIVENCHY
Sarah Burton’s Givenchy returned to Hubert de Givenchy’s archives, using fabric swatches and patterns from the founder’s first collection in 1952. The handwritten notes and annotations by Givenchy struck her almost emotionally. It makes sense to put Burton at a house like Givenchy. The creative director can make a house future-proof without disposing of its past. The silhouette is the backbone of Givenchy, she explained pre-show. And so, there were terrific hourglass coats, babydolls with geometric shapes, and incredibly well-made toned-down dresses. Burton proved that well-made clothes don’t need much accessorizing. There were some big pearl earrings and shoes with feathers, but that was all. A stripped-back signature Givenchy collection, overall, presenting a new – very promising! – future of the house. This is just the start.
TOM FORD
In the comment section of a reclaimed fashion critic, many argued that Haider Ackermann did a better job than Tom Ford himself. Whether you agree or not, Ford has set a solid base for the brand and the fashion industry. His legacy will continue forever, with his Gucci heydays experiencing a revival. Ford has earned his spurs, and so does Ackermann. His take on Tom Ford feels like a welcome and fresh direction for the house. One that makes the brand more future-proof than Ford himself could’ve done now. Or at least from what we’ve seen him over the past few years. The common thread between Ford and Ackermann? Their love for tailoring. Done seductively, to be more precise. But there were athleisure influences, too, including flashy and acid colors that reminded me of the eighties.
LOEWE
Loewe presented a full-circle moment on Monday. At Hotel Particulier on Rue de L’Université, Jonathan Anderson presented his – most probably – final collection for the house. His absence was striking, as was the Reel he posted on Instagram on Sunday—a retrospective of his work for Loewe, including the hottest campaigns and most memorable designs and moments.
And if this presentation wasn’t meant as a retrospective (which it must be), it at least felt like an excellent overview of what Jonathan Anderson has brought to Loewe over the past decade. His playful designs exude craftsmanship like no other. The collection presentation showed how much fun the creative director has had at Loewe, and even though a runway show is a way to bring energy to a collection, this presentation did so, too. “A scrapbook of ideas,” as the creative director referred to it himself, contained things old and new that are gathered randomly to be preserved as memories or to serve as inspiration; mementos fill the pages. Devising the collection as a scrapbook, Anderson plays on LOEWE codes and tropes such as trompe l’oeil, distorted scales, and volumes, all filtered through art and artisanal craft Anderson is known for. As a true ode to his work, the collection consists of perfectly cut Loewe trousers, soft and sturdy leather garments, and familiar forms the house is known for. The shoes were great, too. Leather boots that rise high up to the hips and embellished jelly shoes reminiscing childhood memories.
Overall, craftsmanship reigned, emphasized by the collaboration with the Josef and Anni Albers Foundation. This is a testament to the mark Anderson will leave on Loewe and fashion in general: a regenerated love for craftsmanship and quality.
JULIE KEGELS
In the eighties, “Executive Style” formed the bible for boardroom members. Guiding readers on achieving power and wealth through good taste, Julie Kegels used its rationale in a gimmicky way. In an extension of the book, the Belgian designer took the attire of finance bros and boardroom members of the book’s birthyear as something to play with. And so, she showed a collection filled with upside-down and inside-out skirts and classic office furniture printed on skirts, tops, and dresses. Because C-suite wealth isn’t only about the clothes; it’s about a complete lifestyle, including furniture. The designer explained they were a way to camouflage oneself in a prosperous world, being an illusion in the end.
ACNE STUDIOS
Acne Studios feels more grown up after a couple of seasons. Showing during Paris Fashion Week has done them well. It might not be a coincidence that founder and creative director Jonny Johansson returned to his roots and upbringing for the collection. “A Nordic upbringing develops a deep connection to nature,” he explained. “Nature and urban cities have always had a relation that fascinates me. I have tried to portray the tension and contrast between the two of them within this collection.” Just like Schiaparelli was centered around the female gaze, Chloé embraced every side of a woman; Acne Studios explored the contrasts between two worlds and two sides of the same woman. One that is rooted in nature but currently lives a fast-paced city life. According to Johansson, the two can’t co-exist.
Therefore, the collection’s outerwear and tailoring are thought to have soft, rounded sleeves and shoulders, referencing, at times, the volume of a classic suit. Other pieces have more relaxed energy, like flowing dresses that seem casually thrown on. Like a two-sided woman who tries to get through the day in her fast-paced city life, the collection explores classic silhouettes in new ways that suit the modern lifestyle.
CHLOÉ
Chemena Kamali is best at creating a romanticized image of the modern woman. That is, with an empowering edge. This season, she opted for big shoulders, evoking a strong can’t-get-me-energy. “As I started working on this collection, I felt that moving forward is just as important as honoring the past. It is about continuing to explore, redefine, and evolve the Chloé woman’s state of mind. The connection between the House, the woman, and I is deeply personal,” Kamali explained. And therefore, it felt like the right moment to relaunch The Paddington Bag – a Chloé classic. This time, it comes loaded with many bag charms, adding a sense of playfulness. The right balance, one could argue. “Chloé has a voice, speaking to women beyond fashion. It is important to keep evolving that voice and her spirit,” Kamali explained.
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