Designers at Paris Fashion Week enthusiastically showcased 'corporate elegance'.
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Paris Fashion Week 2025: A New Era of Haute Couture
The Fall-Winter 2025 edition of Paris Fashion Week concluded last Tuesday, showcasing a parade of high-octane designer debuts. Notable among them were Julian Klausner stepping into Dries Van Noten, Sarah Burton taking over Givenchy, and Haider Ackermann reviving Tom Ford. Each brought a fresh perspective to the historic houses.
Across the nine-day extravaganza, designers mostly steered clear of overt political statements, instead focusing on providing an escape and subtler expressions of empowerment. Retro-inspired looks, experimental office attire, and homages to David Lynch were common themes.
"We're waving goodbye to the 'quiet luxury' wave... I see a lot of joy, humor, and irony," commented Alix Morabito, women's buying director for Galeries Lafayette, reflecting on an eclectic mix of rational and playful styles. Such a shift, Morabito suggested, was necessary in a world thirsty for brand connections that go beyond cookie-cutter offerings.
'Officecore': Redefining Corporate Chic
The approach to corporate dressing seemed a major concern for several designers as a full return to office environments gains traction.
Tom Ford's reviver, Haider Ackermann, combined desire and power dressing in his debut collection. He transformed the signature "Perfecto" biker jacket into a sleek tailored ensemble, offered a Hitchcockian feel with a crimson leather trench coat, and experimented with an acid green shirt—a signature shade from Tom Ford's Gucci days.
Captivating office environments were also on display at Stella McCartney, where models walked the runway to the pulsating beats of "Work It". Guests, including Cameron Diaz, Anna Wintour, and Paris Jackson, were seated at desks, as they marveled at the '80s-inspired power suits, reimagined pencil skirts with added pockets, oversized coats with a drop waist, and tote handbags large enough for laptops.
Balenciaga, too, put forth its take on tailoring, offering slim, simple suits reminiscent of its usual provocative offerings. Creative Director Demna explained the collection as an investigation into standards, particularly within business wear. "It was a challenging season to create a conventional jacket. What makes a jacket 'normal'? How does it differ from other jackets?" he pondered, following the show.
Demna also emphasized the invisible craftsmanship behind the tailoring. "A jacket designed to accommodate a hoodie and double waist on pants for versatility; there's a whole study of dressmaking behind it," he elaborated.
Vintage Opulence: Then & Now
Vintage allure was a dominant motif - although it drew inspiration from a wide range of time periods. Rather than adhering to a single era, designers presented a patchwork of romanticized pasts, marrying opulence with everyday wear.
At Dries Van Noten, designer Julian Klausner set his stage at the gilded 19th-century Opera Garnier. The collection featured tassels reimagined as boleros and belts, raw trimmings structured into midi skirts, and shoelaces whipstitched into button holes - evoking dreams of women exploring the opera with a sense of adventure.
Valentino's show unfolded within a nightclub-style bathroom, as designer Alessandro Michele sought to meld the public and private spheres. The runway pulsed with techno music, and models showcased a fusion of underwear and eveningwear. This Collection blurred the line between typical office attire and an after-hours glam look, offering a modern take on the traditional dichotomy between work and play.
Chloé blended 1970s influences with the "indie sleaze" aesthetics of the late 2000s, reminiscent of the early 21st century zeitgeist. The collection featured nightgowns layered under overcoats, bias-cut silk skirts worn effortlessly with ballet flats, and a revival of the brand's iconic Paddington bag adorned with fur clips.
More is More: The Experimentation Continues
Experimentation with silhouettes, textures, and materials dominated the season.
Alaïa designer Peter Mulier drew inspiration from kinetic art and incorporated spirals into his designs. Models were encased in tubular structures framing their faces, creating the illusion of exaggerated proportions, while pleats unfolded like corollas. Matte sheer knits, glossy leather, and twisted fringes added texture and movement to the show.
For her debut at Givenchy, designer Sarah Burton experimented with silhouettes that echoed Hubert de Givenchy's 1952 debut collection. Inspired by the '50s, the collection boasted a luxurious palette of pastel hues, glossy leather, and intricate embroidery. Fishnet bodysuits and bodycon dresses donned the runway, coupled with oversized bags and delicate jeweled accessories.
Marine Serre's collection for France's oldest institution, La Monnaie de Paris, construed an atmosphere reminiscent of David Lynch's "Twin Peaks." The collection showcased bodysuits with hip paddings, dresses with amplified shoulders, and plenty of femme fatale references. "I want women to pioneer, to be radical... to feel magnetic for themselves... To achieve this, you need a lot of minimalism...really simple cuts," Serre backstage.
Joyful Clothes: Celebrating Creativity
Happiness and excitement were key themes during the event, with designers working to infuse their collections with positivity. The Issey Miyake show highlighted the brand's continued focus on modular clothing, offering pieces that allowed wearers the freedom to style their clothes in multiple ways.
Miu Miu, on the other hand, drew inspiration from 1950s and '60s archetypes, while adding a touch of modern whimsy. Kicks like Sarah Paulson's catwalk debut in Cloche hat and cone-shaped bullet bra, and bold color-blocking gave the collection a dressier feel.
Saint Laurent showcased block colors across functional garments – from dress coats and blouses to box-cut dresses in fuschia pink, incandescent orange, and lime green. Chanel, without a creative lead for nearly a year, incorporated splashes of red and pink in its skirt-suits, with looks accessorized with XXL beads, bows, and jeweled belts.
Bag enthusiasts will be delighted to know that the brand's staple bags were omnipresent on the runway - being donned both by models and the show's glamorous guests, including actress Dakota Fanning and singer-songwriter Camila Cabello.
- Designer Sarah Burton, taking over Givenchy, showcased a collection inspired by the '50s, with fishnet bodysuits, bodycon dresses, glossy leather, and intricate embroidery, reminiscent of Hubert de Givenchy's 1952 debut.
- In the Stationary show, reminiscent of David Lynch's "Twin Peaks," designer Marine Serre presented a collection featuring bodysuits with hip paddings, dresses with amplified shoulders, and plenty of femme fatale references.
3.ałaïa designer Peter Mulier, drawing inspiration from kinetic art, showcased a collection with models encased in tubular structures framing their faces, creating an illusion of exaggerated proportions, while matte sheer knits, glossy leather, and twisted fringes added texture and movement to the show.
