The best of Paris Fashion Week SS25

Open­ing image cour­tesy of Chloé

Words Leelou Reboh

Like every sea­son, the Spring/Summer 2025 fash­ion month cel­e­bra­tions came to a close in Paris ear­li­er this month, with Coperni deliv­er­ing one of the most play­ful run­way set­tings to date at Dis­ney­world. Paris is home to the biggest indus­try play­ers, and once again, the French cap­i­tal proved itself to be the ide­al play­ground for these renowned fash­ion Hous­es upon which to expand their cre­ative vision. This sea­son, sil­hou­ettes got big­ger and bold­er at Loewe, struc­ture was of the essence for Cour­règes and ATLEIN, intri­cate pat­terns were in at Louis Vuit­ton, and Chloé made us long for the Sum­mer days just gone.

Although the vari­ety of choice might make it dif­fi­cult to keep up with, our OVERDUE team pre­pared the per­fect roundup to keep you in the loop of the col­lec­tion the ‘crème de la crème’ pre­sent­ed dur­ing Paris Fash­ion Week!

Vaquera

It seems like the New York City-based brand keeps get­ting cool­er and edgi­er with every sea­son. For their SS25 col­lec­tion, Patric DiCaprio and Bryn Taubensee — the cre­ative duo behind the label — ele­vat­ed streetwear to the per­fect bal­ance of casu­al chic and over­dressed par­ty-wear, mak­ing for the per­fect uni­form of any fash­ion­ista strut­ting down the Low­er East Side. Looks com­bined volu­mi­nous shoul­ders and puffy skirts with pat­terned den­im and itty bit­ty satin and coat­ed leather bustiers. Head­wear with a nau­ti­cal, pirate-like twist made an impres­sion, and brought a youth­ful play­ful­ness to the looks.

Louis Vuitton

Nico­las Ghesquière’s work at Louis Vuit­ton has show­cased a con­sis­tent blend of tra­di­tion­al crafts­man­ship and mod­ern influ­ences, and SS25 was cre­at­ed in con­ti­nu­ity with this ide­al. The unex­pect­ed vol­ume of the peplum waist­lines fea­tured on both jack­ets and but­toned vests paired per­fect­ly with the trendy striped capris or asym­met­ric pants. Play­ing with pat­terns and tex­tures, tweed and hor­i­zon­tal lines seemed to have cap­tured Ghesquière’s keen inter­est this sea­son. As fash­ion and art are con­stant­ly inter­act­ing with one anoth­er, the design­er used some of the pic­to­r­i­al works of artist Lau­rent Gras­so as prints for some of the gar­ments, demon­strat­ing that the two are in fact part of the same entity. 

Saint Laurent

For his ninth col­lec­tion at the helm of the label, Antho­ny Vac­carel­lo paid homage to the late founder of the brand by revis­it­ing the icon­ic suits Saint Lau­rent used to wear. Toy­ing with impos­ing shoul­der pads and bag­gy jack­ets, Vac­carel­lo made it clear that he was design­ing for strong, con­fi­dent women, unafraid to take on the world. SS25 is a sto­ry of empow­er­ment, and recounts the jour­ney from dark­ness to light through dress, as the gar­ments evolved from seri­ous, neu­tral for­mal­wear to colour­ful frilled skirts lay­ered over lace slips, and 80s-inspired pat­terned jacquard jackets. 

Loewe

The beau­ty of Loewe’s SS25 col­lec­tion was all in the details. This sea­son, Jonathan Ander­son wished to step away from the grandiose pro­duc­tion that is the usu­al fash­ion show, and for his guests’ atten­tion to be focused sole­ly on the design mas­tery behind the gar­ments. What appeared to be sim­ple graph­ic tee-shirts was in real­i­ty print­ed on white feath­ers, then assem­bled to reassem­ble the por­trait or art­works of some of the world’s most renowned artists — Chopin, Bach, Van Gogh — and the appar­ent crin­kles on the cocoon-shaped dress­es were upon clos­er inspec­tion intri­cate inci­sions through­out the fab­ric. The sil­hou­ettes were at times extrav­a­gant — boun­cy, flow­ing, volu­mi­nous — a stark con­trast from the some of the seem­ing­ly every­day­ness of some of the looks, which reflect­ed Anderson’s intent to strip the col­lec­tion down to the core of what fash­ion design is after all: crafts­man­ship and quality.

Chloé

Boho con­tin­ued to dom­i­nate at Chloé, and Cheme­na Kamali demon­strat­ed that there was noth­ing more desir­able than the care­free vibe that per­me­at­ed 70s cul­ture. Bil­low­ing muslin dress­es with lace trims and loose strings were very much the focus of Kamali’s SS25 col­lec­tion, and there was a dis­tinct over­ar­ch­ing theme echo­ing metic­u­lous­ly craft­ed, high fash­ion lin­gerie. Colours were fad­ed, as though the mod­els had spent days graz­ing under the sum­mer sun, and SS25 was over­all taint­ed by a nos­tal­gic feel­ing of long­ing for warmer days.

Mugler

As Mugler cel­e­brat­ed its 50th anniver­sary on the run­way, Casey Cad­wal­lad­er reflect­ed on the House’s his­to­ry, and used it as a fer­tile ground allow­ing for a renewed growth of his cre­ative vision. The gar­ments were in full — futur­is­tic — bloom, a nod to Thier­ry Mugler’s fas­ci­na­tion with sci-fi and tech­nol­o­gy. Build­ing upon the tech­ni­cal, almost archi­tec­tur­al con­struc­tion of the gar­ments syn­ony­mous with the label, the col­lec­tion fea­tured mes­meris­ing ele­ments of corsetry, and struc­tur­al sil­hou­ettes. Broad shoul­ders were at the ren­dezvous, and play­ful, spiky wigs mir­rored the sharp lines of the looks.

JennyFax

Mak­ing their Euro­pean debut with their SS25 pre­sen­ta­tion ‘come togeth­er’, Tai­wanese-born and Tokyo-based label Jen­ny­Fax won their Parisian audi­ence over with a col­lec­tion crafti­ly blend­ing ultra-fem­i­nine ele­ments with strong sto­ry-telling. Mod­els became char­ac­ters set in a tra­di­tion­al Parisian café, each embody­ing a spe­cif­ic arche­type — a bar man­ag­er, a sec­re­tary, a Loli­ta fash­ion-lov­ing teen, and even a moth­er on a fam­i­ly vaca­tion. Beyond the play­ful­ness of the nar­ra­tive imag­ined by Shueh Jen-Fang, JennyFax’s cre­ative direc­tor, the design­er also wished to spot­light her ded­i­ca­tion to body pos­i­tiv­i­ty by design­ing a sil­i­cone corset mould­ed after her own body. By cre­at­ing vari­a­tions of the corset and show­cas­ing it across the mod­els’ var­i­ous body types, Jen-Fang deliv­ered a pow­er­ful state­ment about self-accep­tance and inclusion.

Courrèges

After the steamy sen­sa­tion that was Nico­la Di Felice’s AW24 col­lec­tion for Cour­règes — for which mod­els lit­er­al­ly walked the run­way with their hands down their pants, and the floor inflat­ed akin a human chest to the fli­ra­tious rhythm of the show mix­tape — the design­er fur­ther explored the sen­su­al body into SS25, though arguably play­ing down the explic­it nature exhib­it­ed in his pre­vi­ous col­lec­tion at Cour­règes. Cut outs and squared bodices sub­limed the nat­ur­al lines of both the male and female forms, while asym­met­ri­cal straps revealed cheeky col­lar­bones. Inspired by the Möbius band, Di Felice aimed to cre­ate a col­lec­tion bound by rep­e­ti­tion, and exam­ined the vari­a­tions of its rip­ples. Jack­ets were a key focus for the design­er, as he drew his inspi­ra­tion from a 60s archive cou­ture cape, and decon­struct­ed the gar­ment to forge his own.

ATLEIN

ATLEIN SS25 was all about struc­ture and pre­ci­sion. Find­ing his inspi­ra­tion in the rad­i­cal les­bian move­ments of the 80s and 90s in Lon­don, Antonin Tron aspired to rep­re­sent the com­plex and mul­ti­fac­eted fem­i­nin­i­ty of women by revis­it­ing the dri­ving punk and post-punk dress codes of that era. Mas­ter­ful ties and cut outs revealed or con­cealed as they pleased in a DiY spir­it rem­i­nis­cent of the approach to fash­ion at that time, and the mix of util­i­tar­i­an-style gar­ments with the label’s sig­na­ture drapes pro­vid­ed an insight into the intri­ca­cies of Tron’s his­tor­i­cal ref­er­ences. The design­er branched out beyond his affin­i­ty for vis­cose jer­sey and exper­i­ment­ed with tex­tures for his SS25 col­lec­tion, embroi­der­ing Swarovs­ki crys­tals onto his dress­es, or fur­ther explored leather alter­na­tives by using jer­sey coat­ed to resem­ble suede. Tron’s curios­i­ty dri­ves his motive behind his col­lec­tions, and allows the design­er to cre­ate unique pieces whilst pre­serv­ing a mod­ern trendi­ness to them.

Alexander McQueen

After his much crit­i­cised debut col­lec­tion, all eyes were on Séan McGirr and his SS25 for the McQueen label. Inspired by the Irish folk­loric tale of the Ban­shee, McGirr toyed with hand-shred­ded and ruf­fled silk and sequins embroi­dered bodices to emu­late the eeri­ness of the spir­it. Twist­ed suits also con­sti­tut­ed an inte­gral part of the col­lec­tion, echo­ing McQueen’s back­ground in tai­lor­ing which heav­i­ly influ­enced his work. Despite the spine-chill­ing ori­gin of the ban­shee, McGirr gave the myth a new mean­ing by cre­at­ing gar­ments for dri­ven, intu­itive women. Rather than see­ing her as the bear­er of a bad omen, the design­er saw a new light in the ban­shee: one of a guid­ing force.

Schiaparelli

Once again, Daniel Rose­ber­ry demon­strat­ed that he under­stood what women want to be adorned in. Main­tain­ing the bal­ance between cou­ture and ready-to-wear, waists were cinched in corsets and pro­por­tions were ampli­fied to give the looks a sur­re­al allure, which Elsa Schi­a­par­el­li was so fond of. Knitwear was the dri­ving force of the col­lec­tion, in rem­i­nis­cence of the founder’s love for the craft. Sump­tu­ous blues and rich shades of yel­low caught the eye, and were com­pli­ment­ed by the vast array of purs­es and clutch­es. The inten­tion­al time­less­ness of the col­lec­tion was Roseberry’s wish to design not just for his cur­rent cus­tomer base, but for ‘their daugh­ters and grand­daugh­ters’, estab­lish­ing the col­lec­tion to what he defined as ‘Future Vintage’.

Dries Van Noten

For his ulti­mate col­lec­tion at the helm of his epony­mous label, Dries Van Noten made it a point to remind the fash­ion world that, although he might be retir­ing from fash­ion, his lega­cy would go on to sur­pass him. As per Van Noten’s habit, his tai­lor­ing was exquis­ite. Evolv­ing from neu­trals, to bright shades of salmons and oranges, to creams, blacks, metallics and then some, the design­er show­cased one last time that his range went beyond what one could expect from him. A few prints punc­tu­at­ed the looks, and sheer over-lay­ers bright­ened the oth­er­wise more tra­di­tion­al pace of the col­lec­tion. One thing is for sure, Dries Van Noten will have for­ev­er changed the industry’s approach to fash­ion, and his depar­ture will leave many eager to dis­cov­er where his future endeav­ours will take him.

Valentino

For his debut at the helm of Valenti­no, Alessan­dro Michele was noth­ing short of his usu­al play­ful­ness, and his col­lec­tion fea­tured Michele’s sig­na­ture touch of colour­ful max­i­mal­ism and bedaz­zle­ment. Mod­els seemed to be walk­ing straight out of the par­al­lel uni­verse Michele has been craft­ing through­out his career, and nod­ded at the House’s free-spir­it­ed her­itage. Both the gar­ments and acces­sories played equal parts in the world-build­ing of the col­lec­tion, fus­ing more retro styles like tur­bans and extrav­a­gant wide brim hats, with bejew­elled head­pieces and tulle veils. SS25 steered away from casu­al wear, and embraced over­dress­ing, reflect­ing a true tes­ta­ment to Michele’s per­son­al style and dress­ing philosophy.

Imagery cour­tesy of ShowStudio.