Maison Margiela To Skip Paris Fashion Week

The official Paris Fashion Week schedule is out and looks set to draw the crowds back to the French capital post-Olympics. All eyes will be on Alessandro Michele’s debut runway show for Valentino on 29 September, after he released a surprise lookbook of his first collection.

Among the notable absentees from the show schedule is Maison Margiela, amid press reports that creative director John Galliano is leaving (the brand declined to comment). Maison Margiela is planning to host an event on 30 September, with “further details to follow in due course”, the brand said. Galliano’s most recent show was for spring/summer 2024 haute couture week in January, and the brand showed women’s ready-to-wear in February 2020, October 2020, 2021 and 2023. In January 2023, the brand also held a co-ed show at the end of men’s week in its new headquarters on the Place des États-Unis.

Off-White will also be absent as it makes its New York debut. Altogether, the spring/summer 2025 women’s ready-to-wear calendar, which will run from 23 September to 1 October, features a total of 70 shows and 38 presentations – compared to 67 and 40 for spring/summer 2024.

This season’s calendar marks the return of Gabriela Hearst, who hasn’t shown in Paris since spring/summer 2021 in October 2020. “Paris’s international reach and remarkable platform for creative expression will enable us to pursue our development based on a long-term view, combining luxury and sustainability,” Hearst said in a statement. It also marks the return of Ludovic de Saint Sernin after a one-off in New York last season, and of Y/Project, which skipped autumn/winter 2024, citing “a commitment to prioritising investments”. Christopher Esber, who scooped the 2024 Andam Prize, returns to the presentation calendar, alongside Heliot Emil and Aigle. Newcomers to the show calendar are Alainpaul and Niccolò Pasqualetti, an LVMH Prize finalist. (The LVMH Prize winners will be announced on 10 September.)

Chanel on 1 October will hold its first ready-to-wear show since Virginie Viard bowed out, designed by the studio. Dries Van Noten’s collection will also be by the studio, after the eponymous designer bid farewell in June. Other highlights will include Dior, Saint Laurent, Balenciaga, Loewe, Chloé, Balmain, Alexander McQueen, Hermès, The Row and Victoria Beckham. After Louis Vuitton closes the curtain of the official calendar on 1 October, fashion week-goers will spend the evening at Disneyland where Coperni is staging its show. With some dismantling of the Olympic installations still going on, the Fédération de la Haute Couture et de la Mode (FHCM) has advised its members to avoid show venues in the Place de la Concorde area.

Peter Hawkings Exits Tom Ford

Peter Hawkings is exiting Tom Ford less than a year after taking over the creative director role from its eponymous founder, Estée Lauder Companies (ELC) has confirmed. A successor has not yet been announced.

“I would like to express my gratitude to Peter for his exceptional contributions to Tom Ford from the very beginning,” said Guillaume Jesel, president and CEO of Tom Ford and luxury business development at ELC, in a statement. The spring/summer 2025 collection will be presented in the Milan showroom in September 2024.

"I want to thank Peter for his collaboration since Tom Ford Fashion became part of the Ermenegildo Zegna Group. Along with his team, Peter has contributed to this important initial phase of development. I wish him all the best in his next chapter,” added Lelio Gavazza, CEO of Tom Ford Fashion.

Tom Ford himself stepped down from the brand in 2023 following its $2.8 billion (£2.2 million) sale to ELC the year before. Hawkings made his debut as the brand’s creative lead in September 2023, following nearly 25 years working alongside its founder, first at Gucci and then at Tom Ford, which was established in 2005.

Until Ford’s exit in early 2023, Hawkings ran the brand’s menswear operation, which was based out of London and launched in 2007. Since taking on the creative director role, he has integrated the formerly US-based womenswear design studio into the London menswear operation.

Shortly before showing that first collection, Hawkings told Vogue about the moment when, in November 2022, Ford privately revealed his plans to sell the brand and step down. He said: “I honestly never, ever thought that Tom would ever sell. I thought he would be one of the Ralph Laurens of the world and continue and continue. So he dropped that bombshell — and then the second bombshell was that he was putting me forward for creative director.”

Hawkings’s sudden exit will lead to instant speculation as to who might be be anointed as Tom Ford’s second successor. The founder’s codes of precisely honed high-octane sensuality are extremely distinct, but cannot merely be parroted in order for the brand to continue to develop.

In April 2023, it was revealed that Ford had sold his eponymous brand in a deal that saw his existing partners in beauty, eyewear and ready-to-wear assume control. Tom Ford International, the company responsible for the Tom Ford fashion business, was fully acquired by the Milan-based Zegna Group. The acquisition was part of a joint operation led by Estée Lauder Companies (ELC), Tom Ford’s existing beauty partner, and Marcolin, its eyewear partner.

Under the terms of the deal, Zegna Group has a 20-year license agreement to produce Tom Ford Fashion, with a 10-year renewal option. Gildo Zegna, CEO of the Zegna Group, told Vogue Business that a key factor in his company’s successful acquisition was its existing relationship with Ford: it first worked with the designer to produce his tailored menswear when he was at Gucci and later inked an agreement to produce Tom Ford’s menswear (designed by Hawkings), when it launched in 2006. Said Zegna: “Then, in 2016, we bought 15 per cent of Tom Ford International, on the fashion side, and I entered the board, and we became more close.”

When Ford decided to cash out, says Zegna, there was interest “from a good number of players more important than us. But with Estée Lauder, we won because they gave credit to our [existing] partnership and the job that we had already done.”

It is understood that Zegna’s prime ambition for Tom Ford ready-to-wear is to expand its womenswear sales, which, in 2023, accounted for 30 per cent of Tom Ford International’s revenues. Today’s news suggests that the next creative director will focus the brand in that direction; Hawkings, for his part, is a seasoned menswear designer.

The NYFW S/S´25 Schedule Is Out

Summer is at its peak right now, which means it’s time to start thinking about the September shows. The spring/summer 2025 New York Fashion Week schedule may be small, but it’s chock full of surprises.

The week will officially kick off on Friday 6 September at 1pm with Area, which is currently celebrating its 10th anniversary. It’ll be a big day for the city, with Collina Strada and Willy Chavarria also holding shows on opening day. They’ll be joined by Pieter Mulier, who opted out of Alaïa’s usual off-calendar slot adjacent to the Paris couture season in favour of an off-calendar show in the Big Apple. The Belgian designer is no stranger to the city, having spent a few years here alongside Raf Simons during the Calvin Klein 205W39NYC era. Last month, he told Vogue, “New York has a very special significance to me. It’s the city of resilience. And resilience is the feeding ground for creativity. My time in New York has not only shaped my artistic vision, but has become an integral part of who I am. It’s where Alaïa’s story intersects with the heartbeat of the world. New York isn’t just a destination; it’s a homecoming, a celebration of the past, present, and future of Alaïa.”

Alaïa is not the only European brand jumping the Atlantic this season; Ib Kamara’s second outing as the official creative director for Off-White will take place on Sunday 8 September at noon, while Ronald van der Kemp will be showing his autumn/winter 2024 couture collection on Wednesday 11 September at 11am, and after a stop in Paris, Stockholm’s Elin Kling and Karl Lindman of Toteme will be holding their show on Tuesday 10 September at 10am. Campillo, the Mexican brand helmed by Patricio Campillo, who was recently named an LVMH Prize finalist, will also be holding its first fashion show in the city on Saturday 7 September at 9am.

Who Decides War is back on the official schedule, showing on Saturday 7 September at 1pm, as is Rio Sport, Rio Uribe’s newly-christened brand, which is showing on Wednesday 11 September at 1pm. The week will feature a large contingent of this year’s CFDA/Vogue Fashion Fund finalists – Kate Barton, Grace Ling, Jane Wade and Wiederhoeft are back on the schedule, while 5000’s Taylor Thompson, Sebastien Ami and Presley Oldham are making their debuts. Melitta Baumeister, the winner of last year’s CVFF will be closing NYFW with her first-ever fashion show taking place on the 11th at 5pm.

A few big designers are missing from the schedule this season, including Altuzarra, Helmut Lang, Gabriela Hearst, Fforme, Proenza Schouler and Ralph Lauren, but for the latter two, it is simply because they are holding shows before the official week kicks off. Proenza Schouler will stage an intimate presentation on Wednesday 4 September, while Ralph Lauren will be taking guests to the Hamptons on Thursday 5 September.

Ib Kamara On Its NYFW Debut

Off-White was created by the late Virgil Abloh, an Illinois-born visionary of Ghanaian descent. It is headquartered in Milan, and shows in Paris. All this makes it a brand that defies national categorisation, which is one part of its international appeal. However what seems almost remiss is that during nine years of operation there has never yet been an Off-White show in the United States. So this September, the brand will make its debut at New York Fashion Week.

“Bringing Off-White to New York has been on the cards for so long,” explained Ib Kamara on a call. Kamara was the long-standing stylist for Off-White, and worked alongside Abloh until the founder’s death in late 2021. Since then, he has taken up the mantle as the brand’s creative director. And he shared on the call that Abloh had originally planned to bring Off-White to New York at the beginning of 2022, a plan that was placed on hold after his passing.

“Now the time feels right to show up,” said Kamara: “It feels natural to grow and show where so much of the community around the brand is. I think it will be amazing and feel great for Off-White to show for the first time in the city.” Of New York, he added: “It’s common ground – a melting pot where everybody is equal.”

Coperni Will Close The S/S´25 Season At Disneyland Paris

A spray-on dress modelled by Bella Hadid, robotic dogs on the runway, sonic experiments inside the IRCAM in Paris: in recent years, Coperni’s Arnaud Vaillant and Sébastien Meyer have established their independent label as one of Paris Fashion Week’s must-see shows through their experiments with technology and their unusual choice of locations. But their spring/summer 2025 show promises to knock all their previous viral moments out of the water. Coperni will close the season at the iconic Disneyland Paris amusement park. This is the first time the park has hosted a fashion show in its 32-year history.

“The Disney team had approached us to work on a different project,” Vaillant recalled in their makeshift showroom in New York earlier this summer. “We met at our studio in Paris, and in the middle of the meeting, Sébastien was like, ‘Guys, we should have a show at the park,’ and they thought it was a good idea.” Of course, this wasn’t just a case of waving a magic wand around and saying “bibbidi-bobbidi-boo” and getting it done. “It’s a lot of approvals, as you can imagine. We spoke with so many different people from all their different teams, and finally, they said yes.”

Meyer and Vaillant won’t reveal all the tricks they have up their sleeves just yet, but production plans are apparently already underway. Naturally, we can expect some Disney princesses – and even villains – to influence the collection. “We’re going to play with the glamorous side and the youthful side, but we’re also bringing some tech elements; there is a big tech aspect at Disney as well,” Vaillant added, citing Disney’s legendary Imagineering research lab. “It’s so exciting.”

“It’s going to be such a beautiful moment. You know Disney touches everyone,” Vaillant added. “It’s going to be complicated, but it’s going to be worth it.” This season’s lucky guests – which will include the French duo’s bevy of cool It girls and boy fans, along with Mickey, Minnie and the rest of the gang – may even get to celebrate the end of fashion month atop a roller coaster, something that’s sure to put a smile on the face of even the most jaded fashion follower.

London’s Lightroom Exhibition Will Consider The History Of The Runway Show

Vogue: Inventing the Runway, an immersive new exhibition exploring the history of the modern runway show, will open this autumn at Lightroom in London. With the space’s astonishing four-story-tall walls as a backdrop, from 25 October visitors can experience and interact with era-defining runway presentations up close, and at an unprecedented scale. The exhibition’s production will combine animation, state-of-the-art sound design, and a score of classical and pop music to evoke the many iconic shows that have helped shape the cultural landscape.

“At Vogue, we’ve been lucky enough over the decades to see many incredible runway shows, which have often told the story of fashion as much as the clothes themselves,” says Anna Wintour, chief content officer, Condé Nast, and global editorial director, Vogue. “This Lightroom experience is a wonderful opportunity for a lot more people to experience first-hand the thrill of watching the history of fashion unfold right in front of them.”

Extending from the intimate couture salons of early 20th-century Europe to the mass-media extravaganzas of today, Inventing the Runway connects the past to the present and future of fashion, utilising Vogue’s extensive archive and contributor network to create an experience that unites the industry’s leading creative voices.

With a robust mix of participating fashion houses, including Alexander McQueen, Balenciaga, Chanel, Comme des Garçons, Dior, Iris Van Herpen, Marc Jacobs, Thom Browne and Yohji Yamamoto, the exhibition will examine how fashion shows became the ultimate statement of a designer’s vision.
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Valery Koshlyakov

Hidden away at 19 Rue de Varenne in Paris's chic 7th arrondissement, the Secret Gallery is a cutting-edge art and design space founded by Nathalie Elmaleh and Laurent Teboul. Both collectors and scenographers, they bring a fresh, innovative vision to the gallery. The main exhibition space hosts three meticulously curated thematic exhibitions annually, designed to evoke deep emotion. Artworks and design pieces are presented in settings that mimic a home, an artist's studio, or a collector's loft, creating an intimate, immersive experience.

¨Each exhibition invites visitors to dream, explore, and curate their own collection. The Secret Gallery shares its artistic sensibility, guiding art enthusiasts in acquiring pieces that reflect their individuality, within a captivating universe where art and design converge to create an unparalleled experience.¨ - Nathalie Elmaleh

The gallery features design pieces by renowned architect and designer Reda Amalou, showcasing collections inspired by 20th-century aesthetics. Celebrating materials like walnut, bronze, leather, glass, eggshell, and lacquer, each piece offers a luxurious, textured experience. In the art realm, the Secret Gallery presents a unique concept where 20th-century masters engage in a dialogue with cutting-edge contemporary artists. Exhibitions feature specially created works or selected pieces from existing collections, chosen for their emotional depth and personal expression, free from traditional constraints.

Famous artworks have permeated everyday urban environments, appearing on subway walls, in underground passages, and even on product packaging and advertisements. In these diverse settings, they acquire new meanings and functions. Simultaneously, collectors and the art market avidly pursue genuine pieces by renowned artists, showcasing modern society’s deep appreciation for original masterpieces. Uncovering an authentic piece today would be a discovery of monumental significance, eagerly awaited by the market, akin to the unearthing of a significant archaeological find.

Known for its intimate and innovative exhibitions that blend contemporary art and design, the Secret Gallery is currently hosting Valery Koshlyakov's groundbreaking work for the next few months. This collaboration perfectly aligns with the gallery's ethos of pushing artistic boundaries and creating immersive experiences. Koshlyakov's unique use of adhesive tape to recreate masterpieces mirrors the gallery's commitment to presenting art in unexpected ways, transforming traditional concepts into fresh, evocative forms. As Koshlyakov's works reinterpret iconic art within everyday urban contexts, the Secret Gallery offers the ideal venue for this dialogue between past and present, inviting visitors to explore the enduring power and relevance of classical art in a contemporary setting. This exhibition promises to captivate art enthusiasts, providing a rare opportunity to experience Koshlyakov's innovative approach within the gallery's distinctive, thought-provoking atmosphere.

In response to this fervor, artists propose projects that reproduce the great artworks we yearn for. In 1999, Valery Koshlyakov introduced his "applicative museums" during exhibitions in Russian museums, later expanding to Europe in 2002 at the Museum of Applied Arts in Vienna and in 2004 at the Kunsthalle in Baden-Baden. In 2009, after participating in an exhibition at the Louvre, Koshlyakov was invited by museum curator Dimitri Salmon to the Jean-Auguste Ingres Museum. There, Koshlyakov created La Baigneuse de Valpinçon using scotch tape, demonstrating how modern reproductions can breathe new life into classical masterpieces.

Working with adhesive tape allows for quick reproduction of objects, enabling Valery Koshlyakov to create freely inspired copies of masterpieces and cultural symbols from painting, sculpture, and architecture. Contemporary art employs various methods and materials, and Koshlyakov's choice of adhesive tape—a non-traditional, everyday technical material—stands out. In an era brimming with possibilities, Koshlyakov deliberately selects this rough, shiny, and plastic medium, starkly contrasting the soft, nuanced textures of traditional painting.

Adhesive tape might initially seem a crude, anti-art statement. Instead of canvas, Koshlyakov "paints" with tape directly on walls or plastic surfaces. He layers broad strips of tape like a glaze or expressive brushstrokes, using the synthetic, limited palette to achieve a raw, brutal aesthetic. This approach doesn't aim to mock or desecrate classical painting but rather highlights its enduring power. Koshlyakov's work demonstrates that regardless of the medium, the essence of great art can maintain its grandeur and inspire hope, even in times of crisis. His technique underscores the timeless resilience of art, proving that its impact transcends the materials used to create it. The Valery Koshlyakov exhibition is currently running at the Secret Gallery until 20th July 2024, with walk-in´s and private viewings both welcomed.

Paris Couture Week - Autumn / Winter 2024

The imminent arrival of the Paris Olympics is the talk of Haute Couture Week, influencing this season’s collections in significant ways. At Dior, Maria Grazia Chiuri drew inspiration from the classical silhouettes of the event’s Ancient Greek origins. Thom Browne, on the other hand, infused his designs with elements of American sportswear, concluding his runway show with a unique medal ceremony. Instead of the Chaumet-designed medals of the actual games, models donned blazers embroidered in gold, silver, and bronze.

¨Adding to the prestigious atmosphere, four-time gold medalist Serena Williams occupied a prominent front-row seat, joining the usual array of high-profile guests who travel to Paris for these exclusive shows. Haute couture, a legally protected term, represents the pinnacle of French craftsmanship, featuring made-to-order gowns constructed entirely by hand for discerning private clients.¨ - Charles Daniel McDonald

Elsewhere during the week, the first Chanel show since the departure of creative director Virginie Viard took place yesterday, with a successor yet to be announced. Additionally, Nicolas di Felice of Courrèges presented a guest collection for Jean Paul Gaultier on Wednesday, following in the footsteps of previous guest designers such as Simone Rocha, Haider Ackermann, and Olivier Rousteing. The week was rounded out with shows from Armani Privé, Balenciaga, and Viktor & Rolf.

BALENCIAGA

Balenciaga’s latest couture collection was showcased in the historic salons on Avenue George V, recently renovated by current creative director Demna to evoke a sense of stepping back in time. “For me, it’s very important for it to feel like a special place… it is the same place where Cristóbal used to be... he would look out of the window and see the same trees,” Demna quoted last year. This season, Demna drew inspiration from the "streetwear, goth, skater, and metalhead subcultures," blending these influences with the grandeur of mid-century haute couture. “This couture collection is a tribute to subculture dress codes as important influences to my fashion vocabulary,” said the Georgian designer.

Demna reinterpreted Cristóbal Balenciaga’s iconic designs through his unique lens, presenting abundant, cocooning silhouettes crafted from denim, leather, and nylon. The final look, designed to disintegrate as it was worn, used over 47 meters of nylon. Everyday items were elevated, such as a sharply cut T-shirt made from black scuba satin, which Demna compared to Andy Warhol’s Campbell Soup series. The collection notes stated, “Demna is interested in not only object intrigue itself, but also the techniques used to elevate said object into an art form.”

Dramatic millinery, created in collaboration with artists Ni Hao and Alastair Gibson, recalled traditional couture headpieces but was constructed from unconventional materials like T-shirts set in resin or carbon fiber. The butterfly emerged as the collection’s symbol, featured on masks worn by models, representing transformation and fleeting beauty. “These creatures are beautiful and extraordinary – they are of a perfect design,” Demna remarked.

ARMANI PRIVÉ

Giorgio Armani's latest Privé collection was a quest for serenity, drawing inspiration from the lustrous surface of pearls. The Palais de Tokyo showspace featured a pearl-like runway, setting the tone for an evening of elegance. Armani's devoted celebrity muses, including Cate Blanchett, Eva Green, and Naomie Harris, looked on as the veteran designer showcased a collection focused on surface and texture.

The collection began with molten lamé tailoring and extraordinary beaded gowns, progressing to pieces entirely covered in shimmering crystals. Silhouettes clung closely to the body, exemplified by a series of black gowns in velvet or sequins that accentuated the waist—likely to captivate his famous fans. Playful flourishes, such as bouncing feathered headpieces, added a touch of whimsy. “Gentle and enchanting,” Mr. Armani described his collection, taking a beaming finale bow flanked by two of the models.

CHANEL

Chanel debuted its first collection since the departure of former creative director Virginie Viard with a show at the iconic Palais Garnier, the city's opera house. Instead of the grand constructed set pieces favored by Viard and her predecessor Karl Lagerfeld, the ornate atrium and sweeping marble staircase provided the elegant backdrop. This setting imbued the collection, designed by Chanel's in-house team known as the 'Fashion Creation Studio,' with a sense of realism, as if the models were casually strolling through the corridors after an evening at the opera.

Despite the more subdued setting, the collection featured the requisite drama for an haute couture show. Taffeta capes and frilled collars added a theatrical flair, while the season’s tweeds were lavishly embellished with jewelry-like adornments and feathers sprouting from sleeves and hems. References to opera and ballet—such as Le Train Bleu and Apollon Musagète, for which Gabrielle ‘Coco’ Chanel designed costumes in the 1920s—were evident in tutu-like ruffles and bows adorning each model’s hair.

Even without a creative director, the show demonstrated the enduring strength of Chanel's house codes. As for who will next reinterpret these iconic elements, the fashion world continues to speculate.

DIOR

it was inevitable that the Paris Olympics would influence the season’s collections. The city is already being transformed by the games' architecture, with vast stands rising at Place de la Concorde and along the Seine’s bridges, though not without some grumbling from residents about traffic and the imminent QR codes that will restrict neighborhood travel during the games. Maria Grazia Chiuri was the first to explicitly reference the Olympics during haute couture week, drawing inspiration from the classical roots of the games in Ancient Greece. Her collection featured garments that draped toga-like on the body and referenced the 'peplos,' a garment made from a single piece of cloth folded at the waist. Chiuri noted that this silhouette had inspired Christian Dior himself, but she modernized it by using jersey fabric—typically associated with sportswear—instead of the traditional haute couture fabrics the house founder would have used.

Chiuri's reference point was the 1924 Olympics, also held in Paris, when women were still fighting to compete. New fabrics like jersey, first utilized by Coco Chanel in 1916 due to wartime fabric shortages, signaled a mood of liberation in women's clothing. This was a fitting reference for Chiuri, a feminist designer who has long opposed the notion that couture must constrain the body. Her collection exuded effortless and airy elegance, undoubtedly appealing to the house’s clients amid Paris’ sweltering heat. “This collection represents an extraordinary opportunity to combine couture and sportswear with classicism, rebellion, collective energy, and, above all, the political value of the female body,” Chiuri stated in the collection notes. “It allows me to assert the power of haute couture actions, imagining the elegance of a woman who is both delicate and strong. A woman who performs just as well as a man.”

THOM BROWNE

Last year, as part of the 20th anniversary celebrations of his eponymous brand, American designer Thom Browne staged his first-ever haute couture show in Paris. His sophomore couture collection at Paris’ Musée des Arts Décoratifs showcased a designer already mastering the medium, blending imaginative runway presentations with extraordinary feats of embellishment and craftsmanship. The show opened with male models clad in white Thom Browne skirt suits playing a game of tug-of-war, echoing the Olympic inspiration seen at Dior.

For this collection, Browne reimagined and deconstructed classic American sportswear—such as the tailored sportscoat, swim trunk, and pleated tennis skirt—crafted primarily from white muslin, a nod to toiles, the draft versions of garments typically made from this fabric. Guests were even instructed to dress in muslin coats, which doubled as the collection’s invitations. Browne’s creative flair was evident in the playful layering, cinching, and corseting of these archetypal garments, adorned with sweeping embroidery and embellishment.

In true couture fashion, the show concluded with Anna Cleveland as the bride, her gown blossoming into a vast array of white flowers along its back, each painstakingly crafted from fabric. The final scene resembled a medal ceremony, with three models in gold, silver, and bronze embroidered jackets standing on a podium for the show’s final tableau. “Couture is the Olympics of fashion,” remarked the designer.

SCHIAPARELLI

Daniel Roseberry hosted his latest couture show in the basement of the stately Hôtel Salomon de Rothschild, a departure from the ornate, gilded salons where many runway shows from Valentino to Maison Margiela have taken place. The dimly lit space, illuminated only by a series of chandeliers, set the stage for Roseberry's collection titled "The Phoenix." This theme was inspired by a coq-feathered stole worn by house founder Elsa Schiaparelli to the opening of the Ambassadeurs restaurant in Paris in 1941. Hand-painted by artist Jean Dunand and inspired by Russian prima ballerina Anna Pavlova, the stole symbolized for Roseberry a vision of Schiaparelli as a rising phoenix, a "magical creature whose power lay in her ceaseless ability to reinvent—not only herself but fashion, too."

Drawing on this idea of rebirth, Roseberry's collection embraced free association rather than tidy thematics, with each look designed to stand alone and evoke emotion. "People don’t buy Schiaparelli; they collect it," Roseberry noted, emphasizing the unique nature of each piece. The show began with his own vision of a phoenix: a model in a velvet cape adorned with trompe l’oeil feathered embroidery in three-dimensional chrome. Subsequent pieces explored silhouette, featuring blown-up tailoring and sinuous sheer gowns cinched at the waist with corsets. Enormous bows, millefeuilles of ruffles, and variations on the opera coat referenced midcentury haute couture, particularly the 1950s.

"Each gown, each bustier, each shoe, every piece of folded velvet feather, or triple organza spike, seeks to catch the eye and hold it," Roseberry explained. "This is what makes haute couture so special: it’s an expression of my vision for the maison today, one free from marketing and merchandising. But it’s also something else: a way for me to honor that relationship, one of the most intimate ones in the world—the one in which I give women the power to be reborn, again and again and again."

Paris Haute Couture Week showcased a rich tapestry of creativity and inspiration, with designers drawing from diverse sources to present their latest collections. Maria Grazia Chiuri at Dior looked to the classical roots of the Olympics, blending Ancient Greek silhouettes with modern fabrics. Thom Browne's collection at the Musée des Arts Décoratifs reimagined American sportswear through a couture lens, culminating in a whimsical medal ceremony. Chanel's show at Palais Garnier honored its heritage while awaiting a new creative director, and Giorgio Armani’s Privé collection sought serenity through pearl-inspired designs. Balenciaga, under Demna, melded subculture influences with mid-century haute couture in the brand’s historic salons. Finally, Daniel Roseberry’s collection for Schiaparelli, set in the basement of Hôtel Salomon de Rothschild, evoked a sense of rebirth and transformation inspired by a storied past. Each show not only celebrated the enduring legacy of haute couture but also showcased the designers' ability to innovate and reinterpret tradition for the modern era.

Lanvin Taps Peter Copping As Artistic Director

Lanvin has appointed Peter Copping as artistic director, in charge of womenswear and menswear collections as well as leather goods and accessories. The seasoned designer, known for his feminine creations, will join the French heritage house in September. Lanvin had been searching for an artistic director since the departure of Bruno Sialelli in April 2023. Its last runway show was in March 2023 for autumn/winter 2023.

“Peter Copping’s arrival at Lanvin is an important milestone in the renaissance of one of the great French maisons,” Siddhartha Shukla, deputy CEO of Lanvin, said in a statement on Thursday. “I am confident that with Peter’s vision and technical rigour and the continued perseverance of our teams globally, we will identify a new frontier in fashion and deliver beauty and results in equal measure.”

After graduating from Central Saint Martins and the Royal College of Art in London, Copping began his career at Sonia Rykiel before spending over a decade at Louis Vuitton with Marc Jacobs as head of womenswear. He was subsequently creative director of Nina Ricci from 2009 to 2014, and of Oscar de la Renta (as de la Renta’s successor) from 2014 to 2016. After that, Copping served as head of VIP and special projects ateliers at Balenciaga, working on the red carpet looks notably for the Oscars and the 

Amid a trend of hiring artistic directors with more curator profiles to oversee marketing and image, Lanvin chose a couturier with technical expertise. On his Oscar de la Renta spring/summer 2016 collection, Vogue’s Sarah Mower wrote: “The combination of respectfulness for the founder and pure personal flair made for a collection that succeeded in making every woman present at the show want to be part of Copping’s ravishing modern view of femininity and sexuality.”

Founded by Jeanne Lanvin in 1889, Lanvin is the oldest continually operating couture house in France, though it stopped presenting on the haute couture calendar and closed its couture business after Claude Montana – the French designer known for his big-shoulder ’80s silhouettes – vacated in 1992 after a two-year stint.

When Alber Elbaz joined in 2001, he turned the dusty French house into a firm favourite among women, known for duchesse satin, cocktail dresses and statement jewellery, and bringing a couture aesthetic to ready-to-wear. Since the ousting of the star designer in 2015, however, the house has weathered a few rocky years. Owner Shaw-Lan Wang appointed Bouchra Jarrar to the creative helm in 2016; he left after two seasons and was succeeded by Olivier Lapidus, who too left after just two seasons. Sales plummeted to €35 million in 2020, down from €143 million in 2015, according to public filings. Sialelli held the role from 2019 to 2023.

Shukla has led a reboot since joining Lanvin in December 2021. The brand, which is now owned by China’s Lanvin Group (formerly Fosun Fashion Group), posted sales of €73 million in 2021 and €120 million in 2022. Lanvin sales decreased seven per cent to €112 million in 2023 on the year prior but gross profit increased to €65 million from €61 million in 2022. In its annual earnings statement, the Lanvin Group attributed this improvement to “higher full-price sell-through, an increase in the balance of accessories versus ready-to-wear sales, a further shift to higher margin boutique sales, and better inventory management”.

The group – which also includes Austrian skinwear specialist Wolford, menswear brand Caruso and Italian shoemaker Sergio Rossi – debuted on the New York Stock Exchange in December 2022. “As Lanvin Group’s flagship brand, Lanvin is an integral part of our family,” Zhen Huang, chairman of Lanvin Group said in a statement. “With the nomination of Peter Copping, we look forward to the maison’s continued transformation and growth.”

Copping will also work with Shukla on Lanvin Lab, the experimental space introduced last year. Lanvin Lab’s first creative partnership was a collection with American rapper Future. “Jeanne Lanvin was a visionary of her time whose interests and passions extended far beyond fashion, as do my own,” said Copping in a statement. (He is famously passionate about interior design and antiques and even created a line of “haute cushions” and throws named La Carlière, after his manor in Normandy.) 

“I am certain that Peter’s outstanding talent and capacity to reinterpret the codes of the maison with curiosity and innovation make him the ideal candidate to drive success for Lanvin,” added Eric Chan, CEO of Lanvin Group.

Paris Men´s Spring / Summer 2025

 Following stops in London, Florence, and Milan, Paris Fashion Week Men's S/S 2025 concluded this season's menswear tour. A highlight was Dries Van Noten's farewell as creative director of his eponymous label, marking the end of an era with a runway show on the outskirts of Paris on Saturday evening. The Belgian designer bid adieu after 38 illustrious years, assembling past and present models to celebrate his celebrated career.

¨As Paris Fashion Week Men’s S/S 2025 draws to a close, it’s evident that this season has been a showcase of exceptional creativity and profound statements. From Dries Van Noten’s poignant farewell to Rick Owens' cinematic spectacle and Jonathan Anderson’s artistic exploration at Loewe, each designer has left an indelible imprint on the fashion landscape.¨ - Charles Daniel McDonald

Elsewhere, Rick Owens returned to Palais de Tokyo after presenting in his Parisian abode last season; this time, he transformed the gallery's forecourt into a rendition of a Hollywood epic. At Loewe, Jonathan Anderson curated a runway adorned with pieces by Paul Thek, Carlo Scarpa, Peter Hujar, Susan Sontag, and Charles Rennie Mackintosh. Anderson expressed his inspiration drawn from the distinctive visions of each artist. Additionally, Hermès' Véronique Nichanian, Dior Men's Kim Jones, and Louis Vuitton's Pharrell Williams showcased their latest collections during the week. Williams made a plea for global unity with a spectacular show at Maison de l'UNESCO.

WOOYOUNGMI

Last season, Madame Woo envisioned Seoul from an outsider's perspective; this season, her inspiration stemmed from the 'ABK' (American Born Korean), children of South Korean immigrants navigating between two cultures. The designer focused on the ABK as a distinct archetype embodying various aspects of American lifestyles: the relaxed cool of California and Hawaii, the sporty prep of the Ivy League, and the casual energy of the Western heartland. These influences were evident in the collection, featuring varsity jackets, baseball-style trousers, and sports tops adorned with Wooyoungmi motifs, all interpreted through the brand's playful, eclectic lens inspired by Seoul street style. The looks combined layered or contrasting elements, blending collegiate uniforms, business suits, and surfwear.

Additionally, the collection showcased homespun elements such as hand-painted calligraphy and 'bojagi' shirts crafted using traditional South Korean knot-tying techniques. Madame Woo described this collection as her most artisanal yet, characterized by a dialogue between the past and future, traditional craftsmanship and modern technology.

DRIES VAN NOTEN

Earlier this year, Belgian designer Dries Van Noten announced his departure from his namesake label after nearly four decades in the industry. His farewell show took place yesterday evening (23 June 2024) in the Parisian suburb of St Denis, where a vast industrial warehouse had been transformed for the occasion.

The event drew well-wishers from the fashion world, including designers Stephen Jones, Glenn Martens, Ann Demeulemeester, and Pierpaolo Piccioli. The atmosphere was set in two rooms: one featuring a cube-like screen showcasing highlights from Van Noten’s illustrious career, and the other housing a silver-foil runway stretching across the space. It was on this runway that the designer presented his final collection, bringing together models from past and present, whom he described as "like family, marking the passage of time." Among them were Hannelore Knuts, Kirsten Owens, Malgosia Bela, Debra Shaw, Malick Bodian, and Jonas Gloer.

Van Noten's collection, he explained, was an exploration of time and its effects. Inspired by the Belgian artist Edith Dekyndt, known for transforming everyday objects through exposure to natural elements, the fabrics were intentionally lived-in. They included softly worn English herringbone, cotton drill, and Irish linen, alongside pieces influenced by suminagashi, a traditional Japanese marbling technique featuring flower and leaf motifs on garments.

The silhouette of the collection embodied what Van Noten described as "contemporary elegance," blending traditional tailoring with his distinctive blend of relaxed romance. The show concluded with a striking tuxedo jacket elongated to the ankles, while candy-wrapper sheer fabrics in vibrant shades of pink, lime green, and turquoise showcased his mastery of colour and texture. As the show ended with a thunderous standing ovation, Van Noten took his bow, emphasizing that this moment was not a grand finale but a continuation. "I love my job, I love doing fashion shows, and sharing fashion with people," he remarked. "Creating is about leaving something that lives on. This moment belongs not just to me, but to all of us, always."

HERMÈS

As Paris' longest-serving creative director, with over three decades in the role, Véronique Nichanian continues to excel in making intricate craftsmanship appear effortlessly refined. This was evident in her Spring/Summer 2025 collection, showcased yesterday afternoon at Paris' Palais d'Iéna. The backdrop of floor-to-ceiling screens depicting softly rippling blue waters set a transporting mood, reflecting Nichanian's vision to evoke "a sweet summer" where garments shimmer in the transparency of water.

The collection predominantly featured a calming blue palette, accentuated with bursts of pink and gleaming metallics. Nichanian crafted pieces that exuded a seductively lightweight allure, ranging from breezy Oxford shirts and patterned blousons to tank tops, nearly sheer tailored jackets, and short-sleeved bowling-style knits. Emphasizing the maison's iconic L'Instruction du Roy print, derived from their signature carré silk scarves, the pattern extended from garments to the models' skin through a series of transferable tattoos.

Accessories proved equally enticing, including criss-crossing calfskin sandals, radiant palladium-finished jewellery, and variations of the spacious Haut à Courroies bag in denim canvas and Togo calfskin – undoubtedly among the season's most coveted travel companions. Nichanian's ability to seamlessly blend luxury with ease was once again on full display, reaffirming her status as a master of timeless sophistication in Parisian fashion.

LOEWE

Jonathan Anderson's latest presentation at Loewe transformed the Garde Républicaine showspace into an art gallery, with works by Paul Thek, Carlo Scarpa, Peter Hujar (whose photograph of a high-heeled shoe served as the collection's invitation), and Charles Rennie Mackintosh scattered around the stark white runway. Susan Sontag's 'Against Interpretation' lay open, adding to the intellectual ambiance. Anderson spoke of his admiration for these artists' unique perspectives, which inspired what he described as a collection of "hypnotic" precision, guided by instinct.

The show began with sharply tailored black suits, reminiscent of art gallery attendants' uniforms, but the addition of elongated feather headpieces, some gilded, added a surreal twist. Draped silk tops bearing the 'Loewe' label in oversized proportions played with scale, while other pieces played with perceptions; what appeared to be cable knit tops and shorts were actually crafted from hand-painted fabrics, challenging expectations.

Anderson's meticulous craftsmanship was evident in couture-level details, recalling the intricate beaded garments from his recent womenswear collections. Tabard-style tops shimmered with surfaces made from shell pieces or metal links. Elongated dress shoes further played with silhouette, each detail meticulously considered to achieve a balance of believability and innovation. The collection was striking and beautiful, a testament to Anderson's distinctive vision and consistent success at both JW Anderson and Loewe. His ability to blend intellectual influences with avant-garde fashion continues to set him apart in the world of haute couture.

DIOR MEN

Kim Jones drew inspiration from the 'homespun monumentalism' of South African artist-potter Hylton Nel for his latest collection at Dior. Nel, a longtime friend of Jones, influenced the collection with his expressive motifs, such as hand-drawn dogs, birds, flowers, and trees, which adorned trinket-like buttons, badges, intarsia knits, and embroidery throughout the pieces. The runway was lined with blown-up versions of Nel's distinctive cat sculptures, creating a backdrop that underscored the artistic collaboration.

Jones spoke fondly of Nel's art-filled homes in Calitzdorp, South Africa, where the expansive skies and changing light inspired the collection's colour palette of blues and pinks. The designer also delved into the Dior archive, incorporating elements like a jacket originally sketched by Yves Saint Laurent during his tenure, reimagined as a white ceramic collar. For Jones, this collection was not just a homage to artistic collaboration but also a celebration of craftsmanship and continuity across time. Jones melded Nel's artistic vision with Dior's heritage, creating a collection that resonated with both creative expression and timeless elegance.

HED MAYNER

Hed Mayner continues to captivate Paris with his distinctive design language, often centered around playing with proportions. However, this season, the designer opted to challenge his usual instinct of intricately cutting new patterns and enveloping the body in broad shoulders and expansive trousers. Instead, he focused on exploring how fabrics themselves, through treatments like coating, bonding, and layering, can shape unique silhouettes when worn.

Texture took centre stage in Mayner's latest collection, showcasing the sheen of coated cotton that formed abstract motifs on oversized T-shirts, intentionally creased or distressed fabrics, and the crispness of classic poplins and blue denim. Mayner likened the resulting mix to a "Coke can shaken and waiting to burst," heightened by a grinding soundtrack that shifted to soaring strings, evoking a sense of renewed energy this season.

Additionally, the collection unveiled the latest installment of Mayner's ongoing collaboration with Reebok. It featured a reinterpretation of the sportswear brand's Blacktop sneaker, infused with a nostalgic 1980s-inspired palette. The designer described the sneakers as blending influences from cross-training and basketball, adding a dynamic element to his avant-garde offerings. Hed Mayner's latest showcase not only highlighted his mastery of texture and silhouette but also underscored his ability to infuse each season with innovative creativity and collaborative spirit.

JUNYA WATANBE

Junya Watanabe described his Spring/Summer 2025 menswear collection as an evolution of his affinity for denim and patchwork, pushing boundaries to uncover new innovations. Titled 'Dress Up Denim' and unveiled on a striking triangle of red carpet, the Japanese designer explored eveningwear motifs this season.

The collection debuted with a series of tuxedos meticulously crafted from a patchwork of checkered, pinstripe, and tartan fabrics. Junya's signature eccentricity shone through with styling that included sunglasses adorned with earrings and bold strokes of coloured lipstick. These same jackets underwent a transformation into various shades of denim, paired with distressed jeans that pooled at the ankle. The sartorial theme extended to black-and-white brogues, a collaboration with Tricker’s, adding a polished finish to the looks.

Highlighting Watanabe's penchant for hybrid garments, the collection featured inventive pieces such as a sliced-up wool blazer fused with denim elements and band T-shirts embellished with billowing baroque silk scarves. Icons like Black Sabbath, AC/DC, and Scorpions were prominently featured, adding a rock-inspired edge to the collection's eclectic mix. Junya Watanabe's latest offering not only showcased his mastery of denim and patchwork but also demonstrated his ongoing exploration of unconventional pairings and boundary-pushing designs in menswear.

RICK OWENS

Rick Owens showcased his mastery of spectacle with a grand Hollywood-inspired production on the expansive forecourt of Paris' Palais de Tokyo. Amid swirling plumes of smoke, Owens' 'white satin army of love' made a dramatic entrance, featuring a diverse assembly of old friends, students, and underground icons like Allanah Starr. The procession descended the gallery's iconic staircase and circled around its central body of water, each figure dressed uniformly in white attire ranging from featherweight monastic gowns to torn jersey layers. Some carried imposing scaffold-like structures and flags, enhancing the theatricality of the presentation.

Named "Hollywood" for its homage to the mythical boulevard of vice Owens embraced, the collection drew inspiration from the lost Hollywood of pre-colour black-and-white biblical epics, blending art deco extravagance with themes of sin and redemption. This marked a departure from the previous season's intimate presentation at Owens' Paris residence. Reflecting on the change, Owens expressed a desire to make the event more inclusive: "I felt bad about restricting attendance last time, so this season I wanted to welcome everyone." He emphasized the importance of unity and mutual reliance amidst individual expression, themes underscored by the collective and diverse presence of his runway participants. Rick Owens' latest showcase not only celebrated his distinctive aesthetic but also conveyed a profound message of solidarity and community, resonating deeply within the context of contemporary fashion and society.

HOMME PLISSÈ ISSEY MIYAKE

Homme Plissé Issey Miyake's latest collection, titled 'Up, Up, and Away', drew inspiration from the elemental force of wind. The Japanese brand explained that the collection was influenced by "the phenomena caused by wind, crafts and designs that react to wind, and forms that embody wind". This thematic backdrop was vividly reflected in the Vincent de Belleval designed show set within the courtyard of Paris' Mobilier National.

The runway was transformed into a spectacle featuring enormous mechanical dandelions swaying gently, creating a dynamic environment as models navigated through the space. The collection exuded a sense of airy lightness, with silhouettes reminiscent of kites, parachutes, and waves, designed to come alive with movement when touched by air. Continuing the brand's instinctual mood from previous seasons, layered looks in scarf-like checks dominated, while vibrant bursts of yellow, red, and soft blue punctuated the collection, showcasing Homme Plissé's mastery of colour. This emphasis on dynamic movement and elemental inspiration reaffirmed the brand's commitment to innovative design and craftsmanship, capturing the essence of nature's influence on fashion.

WALES BONNER

Grace Wales Bonner drew inspiration from the allure of coastal cities at night for her latest collection, capturing their vibrant ambiance with her signature transporting style. The London-based designer's vision seamlessly blended beachside casual wear with an effortless glamour. The collection featured swim trunks and short shorts, a testament to her ongoing collaboration with Adidas, juxtaposed with elegant tuxedo tailoring crafted in partnership with Savile Row tailor Anderson & Sheppard. Glittering footwear and sleek, body-skimming silhouettes adorned with fireworks-like bursts of beaded embroidery added a touch of insouciant glamour.

Nautical influences permeated the collection through striped jersey tops, netted detailing, and a white blouson jacket paired with matching shorts. This season also marked a deeper exploration of print, drawing richness from the work of Trinidadian textile artist Althea McNish. Known for her midcentury designs and collaborations with prestigious brands like Christian Dior and Liberty, McNish's creative freedom resonated in the vibrant prints featured throughout Wales Bonner's collection. Grace Wales Bonner's latest offering not only celebrated coastal allure but also paid homage to cultural movements and artistic legacies, enriching her universe with new layers of print and texture that reflect her ongoing evolution as a designer.

LEMAIRE

Lemaire’s latest show took place at the brand’s headquarters on Paris’ Place des Vosges, a space opened to the public for the first time last season. This intimate setting is where Christophe Lemaire and his working partner, Sarah Linh-Tran, conceive and design each collection. The headquarters provide the perfect vantage point to appreciate their creations, which are best viewed up close to capture the intricate details and craftsmanship.

Their men’s and womenswear collections, both showcased at the event, favour timeless pieces over fleeting trends. Lemaire and Linh-Tran design clothing meant to accompany wearers for years, or even decades. This approach demands a deep understanding of how clothing feels on the body, acknowledging that even the smallest misstep in cut or seam can impact one’s mood, posture, and day. The thematic thread of this collection was the interplay of rugged and delicate elements. Sinuous, layered looks, some reminiscent of undergarments, met tough cotton drill, leather, and stricter workwear-inspired silhouettes. This clash of textures and styles highlighted the designers’ skill in balancing practicality with elegance, creating pieces that are both wearable and aesthetically compelling.

LOUIS VUITTON

Pharrell Williams' third collection as menswear creative director of Louis Vuitton made a poignant statement on global unity and connectivity at Paris' Maison de l'Unesco. Set against a grass-covered rooftop runway, the show revolved around the 'Symbolic Globe' conceptualized by Erik Reitzel in 1995, symbolizing the interconnectedness represented by Unesco.

Williams envisioned Louis Vuitton as a catalyst for global connection, presenting a collection designed to "illustrate the degrees of similarities which bind us across the globe". The slogan 'le monde est à vous' ('the world is yours') adorned shirts worn by models and event staff alike, echoing the theme of universal accessibility. Described as 'global dandy', the collection drew inspiration from iconic figures associated with international crossings, such as pilots and diplomats.

The collection also embraced elements of traditional workwear and sportswear, featuring a football kit emblazoned with 'LVRS United', underscoring Williams' belief in sports as a unifying force. The palette of the collection was intentionally diverse, reflecting a spectrum of global skin tones, emphasizing inclusivity and global representation. Pharrell Williams' latest collection for Louis Vuitton not only showcased his creative vision but also delivered a powerful message of unity and diversity on an international stage, reinforcing fashion's potential to bridge cultural divides and celebrate global interconnectedness.

AURALEE

 

Despite celebrating its tenth anniversary this year, Tuesday evening (18 June 2024) marked Auralee’s second show in Paris, having debuted on the schedule last season. Founded and designed by Ryota Iwai, this Tokyo-based label has steadily increased its European presence in recent months, introducing a broader audience to Iwai’s thoughtful interpretations of everyday attire. Known for impeccably sourced fabrics, unexpected use of colour, and a pervasive sense of comfort, Auralee continues to captivate with its distinctive style.

This season, Iwai envisioned his models strolling through a lush park in relaxed and loose combinations that ranged from reinterpretations of office wear to summertime shorts and chinos. After the show, the models lined up amidst the verdant gardens of 51 rue de l'Université. The collection featured seductive bursts of colour in pale green, red, and buttercup yellow, harmoniously paired with classic hues like blue denim, beige, and khaki. In the humid Paris evening, Auralee’s designs presented a wardrobe that exuded immediate wearability and effortless chic. Auralee’s sophomore show in Paris underscored its evolution and growing influence in the global fashion scene, offering a blend of sophistication and casual elegance that resonated with fashion enthusiasts looking for refined yet relaxed wardrobe staples.

As Paris Fashion Week Men’s S/S 2025 draws to a close, it’s evident that this season has been a showcase of exceptional creativity and profound statements. From Dries Van Noten’s poignant farewell to Rick Owens' cinematic spectacle and Jonathan Anderson’s artistic exploration at Loewe, each designer has left an indelible imprint on the fashion landscape. Grace Wales Bonner brought coastal allure to life, Pharrell Williams advocated for global unity through fashion at Louis Vuitton, and Ryota Iwai’s Auralee charmed with its effortless sophistication. Together, these collections have not only defined the trends of the season but also highlighted fashion’s ability to inspire, provoke, and unite in a world that craves innovation and cultural dialogue. Paris Fashion Week Men’s S/S 2025 has truly been a testament to the power of design and the diverse voices shaping the future of menswear.

Milan Men´s Spring / Summer 2025

A fresh surge of energy invigorated Milan Fashion Week Men’s this season, with a distinct British influence: Martine Rose, known for her idiosyncratic menswear inspired by underground subcultures, made her debut on Sunday afternoon (16 June 2024). Heritage house Dunhill also joined the Milan schedule, with Simon Holloway presenting a collection he termed ‘radically classic’. Meanwhile, London-based JW Anderson continued to showcase its menswear collections in the city, this season presenting a collection titled ‘Real Sleep’ inspired by the slumber state of hypnotherapy.

¨The schedule was rounded out by the titans of Milanese style: Dolce & Gabbana, Zegna, Fendi, and Armani, while Massimo Giorgetti celebrated 15 years of his Milan-based label MSGM. Here, we select the highlights from Milan Fashion Week Men’s S/S 2025.¨ - Charles Daniel McDonald

Other highlights of the weekend included Sabato De Sarno’s second menswear collection for Gucci, which shifted to Monday morning (17 June 2024) at the Triennale Milano, the 1930s design gallery (continuing De Sarno’s aim to foster a link with the arts, having shown his Cruise 2025 collection at London’s Tate Modern last month). Prada, meanwhile, created a typically immersive set alongside OMA/AMO – a ‘fairytale ravescape’ featuring a cabin on stilts in the Fondazione Prada space – as the backdrop for one of the season’s defining collections.

ZEGNA

A field of linen was recreated in a vast soundstage-like venue on Milan’s outskirts, near Linate airport, for Zegna’s latest runway show. Artistic director Alessandro Sartori aimed to make the blades of linen – constructed from featherweight metal strips – appear as if they were invading the industrial space. This juxtaposition of man and nature was the catalyst for the collection, which balanced precise tailoring with natural earthy hues of terracotta, beige, and warm yellow, and languid silhouettes. Much of the collection was crafted from linen – titled ‘Us, in the Oasi of Linen’ – leveraging the house’s expertise and innovation with the material, which is more sustainable than other natural fibres like cotton. ‘[Linen is] as malleable and sensual as the idea of summer dressing we are promoting,’ said Sartori, noting that it ‘moulds to individual personalities... [for men] who play buoyantly with their own appearance.’ Danish actor Mads Mikkelsen, a house muse for Sartori, closed the show with an elegant runway turn.

GUCCI

Sabato De Sarno shifted Gucci’s menswear show to its final Monday, choosing the Triennale Milano, the city’s 1930s design gallery, as a new venue. The clean white lines and light-filled atrium of the Giovanni Muzio designed space provided a fresh slate for De Sarno, whose second menswear collection felt like his strongest vision for the Italian house yet. There was an optical clarity to the season’s looks, inspired by surfing, with graphic short-and-shirt sets, swim slippers, and luminous wraparound sunglasses worn on Gucci-adorned straps like chokers. The mood was youthful: super-abbreviated shorts (perhaps an ode to house ambassador Paul Mescal, who sat front row in his own pair of Gucci short shorts), sheer net polo shirts, and a vibrant colour palette all skewed younger than the winter season. Flourishes of embellishment, a signature of De Sarno, elevated everyday garments, such as beaded polo shirts or shirts and jackets adorned with dangling tassels, adding a feeling of material richness to an otherwise streamlined collection.

GIORGIO ARMANI

Mr Armani presented his eponymous menswear collection without any accompanying notes, allowing the clothing to speak for itself. This approach, a hallmark of his five-decade-long career, reflects his preference for considered design and quiet elegance over seasonal gimmicks and complex runway sets. Watched by a Hollywood front row including Russell Crowe and La La Land director Damien Chazelle, this collection was an exercise in Armani-isms: unstructured tailoring in generous proportions, diaphanous shirts and waistcoats, and a simple palette of Armani greige and navy. Travel was a theme, another hallmark of the designer, featured in hazy palm-tree-frond prints and straw or cotton sunhats. Joined for his bow by team members Leo Dell’Orco and Gianluca Dell’Orco, ‘Il Maestro’ received a warm standing ovation from the Teatro Armani crowd.

JW ANDERSON

The slumbering between-state of hypnotherapy was the starting point for Jonathan Anderson’s latest collection, a free association of ideas showing the Northern Irish designer at his creative peak, balancing the strange and seductive in polished style. Looks emerged in threes: duvet-like quilted jackets, oversized utility gilets, and blown-up knit cardigans. Proportions were playfully manipulated throughout – silhouettes were stretched or shortened, with an enormous tie gleefully oversized. Coloured satin protrusions and bulbous padded T-shirts lent a sculptural feel, while surreal motifs emerged like repressed memories or dreams, with Guinness-adorned sweaters and knitted dresses featuring house images, as if from a children’s storybook. Part of the inspiration for the liberated, freewheeling mood was a recent trip to Barcelona’s Primavera Sound festival: ‘The experimentation with clothing among younger generations is incredible,’ said Anderson. ‘The eye has changed within menswear and womenswear. People want something that is really challenging.’

MARTINE ROSE

Before Martine Rose’s show – which followed Prada, just a few hundred yards away – people wondered how the London-based designer would bring her idiosyncratic, underground-infused menswear to Milan. Presented in a former industrial building with Martine Rose flyers scattered on the floor – reminiscent of 1990s raves – the answer was a resolute no. Models stomped and slithered with prosthetic noses (deliberately haphazard) and wearing matted wigs that almost dragged along the ground. Men wore pencil skirts and fishnet stockings or tailored trousers cut to appear like chaps (the crotch part was leather, an inversion of the expected), while women sported motorcycle jacket dresses. Martine Rose signatures recurred – shrunken football shirts, warped tracksuits, zip-away denim – alongside nods to nightlife and its dress codes. ‘When you’re young, you think your tastes will mature as you grow up,’ she quoted. ‘This is the irony.’

PRADA

 

This season, the Fondazione Prada’s Deposito space featured a new installation – a small white hut raised on stilts with a long walkway leading down to the curving white runway below. From its windows and door, left slightly ajar, pulsated the sound of Faithless’s Insomnia, while flashing lights suggested an unseen party within. In this ‘fairytale ravescape’, co-creative directors Miuccia Prada and Raf Simons presented a collection reflecting ‘freedom, youthful optimism and energy’, as Prada reiterated backstage. ‘Youth is the future… it is hope,’ she said. The dynamic silhouettes were purposely creased, warped, shrunken, and exaggerated, ‘like clothes you already live with,’ said Simons. Shirts were skewiff and twisted around the body, narrow trousers sat low on the waist and pooled at the ankle. Some pieces demanded a second look, like trompe l’oeil Breton T-shirts with distorted stripes, or low-slung leather ‘belts’ set into trousers. Enormous visor sunglasses with lenses decorated with rave photographs, Roman statuary, and American highways, and prints by artist Bernard Buffet added a surreal edge. The pair focused on intuition and spontaneity: ‘Sometimes when you are older you start to overthink, and you limit yourself. When you are young, you just go,’ said Simons. ‘We wanted to create clothes that have lived a life, that are alive in themselves,’ they concluded. ‘There is a sense of spontaneity and optimism to these clothes - they reflect instinctive but deliberate choices, freedom.’

DUNHILL

A serene Milanese garden near the city’s upscale Via Monte Napoleone provided the setting for Simon Holloway’s second collection for British heritage brand Dunhill, which shifted to Milan after debuting at London’s National Portrait Gallery last season. This collection continued to explore British dress tropes – particularly those for a summer season of sporting and society events – in pursuit of what Holloway called ‘radical classicism’. The collection ranged from casual – suede utility jackets with driving gloves, cable-knit sweaters, and pleat-front jeans – to sporty – rugby shirts, shorts, and striped varsity socks – and grand, like the final look, a black morning suit with an ivory silk scarf and cane. ‘These are not basic clothes for going into the office,’ said Holloway. ‘These are clothes for enjoyment, for a life well-lived.’

EMPORIO ARMANI

Unbridled horses frolicking in the surf, purple fields of lavender: the projections on the wall of the Teatro Armani showspace set the scene for an Emporio collection titled ‘Freedom in Nature’. Mr Armani transplanted his man from the urban sprawl into the wilds. The mood was one of adventure and abandon: plunging shirting paired with voluminous trousers and heavy boots – a nod to equestrianism – while superfine tailoring evoked safari jackets and kimonos. The focus on the waist ran throughout, from belted utility jackets to loops of leather narrowing the waist of the designer’s lightweight tailored blazers. The show ended with the scent of lavender as lederhosen-clad models promenaded with baskets of the flower. Joined by Leo Dell’Orco and Silvana Armani, who oversee the house’s men’s and womenswear collections, Mr Armani received an enthusiastic ovation, celebrating his 90th birthday next month.

FENDI

Fendi left its usual showspace in the house’s Via Solari HQ (undergoing renovations and expansion), transporting guests to a studio lot-like venue on Milan’s outskirts. The presentation had a grand scale, reflected by enormous mirrored blocks dancing around the runway, reflecting both audience and models. Silvia Venturini Fendi, who heads up the house’s menswear and accessories collections, was inspired by a deep dive into the Fendi archive. The Roman house turns 100 this year, and the designer created a celebratory crest comprising four of the house’s motifs, including the famed double-F emblem, adorning sweaters and shirts. This lent the collection a varsity feel – Venturini Fendi spoke before the show about wanting Fendi to feel like a team, or club – with striped knit rugby sweaters and ties, plaid jackets, school blazers, and a playful riff on the football shirt. This was a uniform for the Fendi clan – and its wide-reaching international fanbase – to sport with pride in its centenary year.

DOLCE & GABBANA

‘Italian Beauty’ was the theme of Domenico Dolce and Stefano Gabbana’s latest menswear collection, marking a subtle shift from the sharp, reduced lines of recent seasons towards something softer, inspired by effortless Italian summers and actors like Marcello Mastroianni. Raffia, a distinct hallmark of Italian furnishings, was a prominent motif, used here for airy summer jackets and oversized polo shirts. Astute tailoring – largely double-breasted and worn with pleated trousers narrowing towards the hem – harked back to the 1950s. The collection was enlivened with embroidery and embellishment, such as delicate red flowers adorning crisp white trousers and jackets.

MSGM

It was 15 years ago that Italian designer Massimo Giorgetti founded MSGM, celebrated with his latest menswear show in a former industrial garage on Milan’s outskirts on Saturday morning. The crisp, optical collection, inspired by the sea, was backdropped by explosions of primary-colour paint against Perspex boxes lining the runway. They were an ode to an early collection Giorgetti had painted after fearing it was too safe, referencing the broad strokes of colour and graphic motifs he has evoked over the past decade and a half. Here, they appeared in vivid patterns, from nautical stripes and colourful daisies to painterly seaside prints. Giorgetti said it was in his cliffside home in Liguria, near Portofino, where the ideas for the collection percolated. The mood evoked a Mediterranean summer: ‘the rocks, Mediterranean pines, agaves, the scent of salt and resin,’ he listed, transporting guests from a cloudy Milan to the Italian Riviera in typically uplifting fashion.

Milan Fashion Week Men’s S/S 2025 showcased a vibrant convergence of tradition and innovation, where storied heritage and contemporary creativity collided. The collections highlighted a commitment to sustainability, exemplified by Zegna’s pioneering use of linen, while the exploration of youthful exuberance and artistic spontaneity was evident in Prada and JW Anderson's daring presentations. Gucci’s vibrant surf-inspired lineup and Martine Rose’s subversive underground influences injected a dynamic energy into the week. The seamless integration of classicism and modernity by Dunhill and the timeless elegance of Giorgio Armani underscored the enduring appeal of meticulous craftsmanship. As Milan Fashion Week drew to a close, it reaffirmed the city’s pivotal role in shaping the future of menswear, celebrating both the rich legacy and the forward-thinking visions of its designers.

Sleeping Beauties: Reawakening Fashion

In its pursuit of sensory immersion and participatory elements, “Sleeping Beauties: Reawakening Fashion”—the Costume Institute’s new exhibition, opened to the public on May 10, after the 2024 Met Gala, with a mission to break down traditional boundaries. This is achieved physically through the limited use of glass cases, and more intangibly, by engaging multiple senses. Andrew Bolton, Curator in Charge, aims to evoke a kind of synesthesia (a neurological condition where stimulation of one sensory pathway leads to involuntary experiences in another) through smell, sound, and sight.

Bolton shares an anecdote from last year’s Karl Lagerfeld exhibition about a young visitor who instinctively wanted to touch the exhibits. Touch is paramount to both wearers and designers, but is typically forbidden in museums to protect fragile fabrics from light exposure and skin oils. Although physical touch remains off-limits in “Sleeping Beauties,” the idea is vividly alive. Bolton notes, “Your sense of sight is a way of touching…touching your feelings, your emotion, your memory.” This exhibition challenges the notion that sight is merely about looking, suggesting it’s far more complex.

 

Entering the exhibition feels like crossing into another realm, possibly the Land of Nod. The first exhibit is Constantin Brancusi’s ovoid bronze, The Sleeping Muse of 1910, a piece symbolizing an altered state of being. This sculpture, over a century old, speaks to the ongoing struggle of costume departments to justify their place in the art world. It also reflects Bolton’s cerebral approach to fashion exhibitions, which are always multilayered. The exhibition’s theme of nature is straightforward but nuanced with symbolism, portraying fashion’s cyclical and ephemeral nature.

Recent curatorial efforts have explored the Costume Institute’s collection in innovative ways. “Sleeping Beauties” examines how science can safely extract and showcase the sensory aspects of garments. Technological advances, such as dye analysis of a Mario Fortuny dress revealing the use of artificial colours, illustrate fashion’s slow adaptation to technology. Sound recordings in anechoic chambers and tactile elements like 3-D printed models and urethane panels provide a multisensory experience.

 

Sissel Tolaas, known for her work with Demna at Balenciaga, captured the scents of several historical dresses, including those of Denise Poiret and Millicent Rogers. The exhibition’s climax features a 1931 Callot Soeurs-designed wedding dress, with a customized ChatGPT addition, allowing visitors to ask questions about this “mermaid bride.”

"Experience the fusion of sensory immersion and fashion history at 'Sleeping Beauties: Reawakening Fashion,' where the past comes alive through sight, sound, and scent." - Charles Daniel McDonald

Garments in museum collections often lose their connection to the bodies they were designed for, transforming into lifeless art pieces. Bolton’s “Sleeping Beauties” references objects too fragile to be displayed upright, lying flat in a resting position. He writes, “Life is the key word in relation to fashion in a museum,” highlighting the radical transformation garments undergo upon entering a museum’s collection.

 

“Sleeping Beauties” builds on previous exhibitions, exploring fashion’s intangible effects. It follows the themes of simultaneity from “About Time: Fashion and Duration” and the role of technology from “Manus x Machina: Fashion in an Age of Technology.” This year’s focus is on engaging the senses to provide a fuller experience, particularly for visitors with disabilities.

At a time when culture is leaning into immersive experiences, “Sleeping Beauties” expands our sensory engagement with fashion. Multimedia activations, overseen by Creative Consultant Nick Knight and realized by SHOWstudio, evoke emotions beyond the garments. The exhibition’s spaces connect like molecules, seamlessly integrating sight, sound, and smell. Bolton concludes, “We’ve reawakened garments in the past, mainly through interpretation—never really through the senses. This is the first time we’re literally bringing them back to life.”

Dior Cruise 2025 - Dressed To Kilt

What an array of emotions the skirl of the bagpipes can stir. For the uninitiated, "skirl" refers to that hauntingly beautiful, sometimes headache-inducing wail they produce. Bagpipes, with their mournful and wistful tones, are akin to Bjork in the realm of musical instruments: otherworldly and polarising. Maria Grazia Chiuri began and concluded her Dior resort show in the manicured splendour of Drummond Castle's gardens in Scotland with the evocative sound of bagpipes. As a Scot typically indifferent to their strains, I found myself unexpectedly and profoundly moved.

Chiuri's extraordinary collection undoubtedly evoked a myriad of emotions, intertwining Dior's rich heritage with Scotland's romantic, dramatic, and sometimes bloody history to stunning effect. Desire springs to mind, as this collection was quintessential Chiuri: garments rooted in realism yet transcending it. Her resort shows also provide a real-world glimpse into how women wear her designs, revealing a chic, effortless elegance in hourglass jackets, full skirts, and clumpy boots or beribboned slingbacks, regardless of age or physique.

 

The designer delved into Scotland's sartorial traditions. “Scotland holds significant influence in the fashion world,” she remarked during a preview. “I aimed to reinterpret it differently. While my generation associates it with punk, there's a rich narrative in the textiles themselves. In fashion, we often focus on shape, but textiles are pivotal—what you can do with them, and the transformations they enable.” Thus, Chiuri reimagined traditional elements—tartans, cashmeres, tweeds, and Argyles—crafting a collection inspired by the geopolitics of fabrics, Mary Stuart’s politically charged embroideries, and a nod to punk, exuding a defiant beauty and energy. Uncompromising, just as modern women must be.

¨Chiuri's extensive travel, expansive thinking, and meticulous research, guided by the writings of Scottish cultural historian Clare Hunter, highlight her quest for meaning in her work. “We often reduce fashion to brands,” she reflected. “But fashion is more than that.”¨ - Charles Daniel McDonald

Classic Dior bar jackets were reimagined in heathery plaid shawls. Corsets bore an armorial strength. Embroidered flowers adorned bodices. Evening dresses in black Jacobean velvet, with white lace encasing the neck and décolleté, were showstoppers. Gunmetal and gold lace, ruffled seams, leather chokers with pearls, quilted leather crossbody bags, and Chiuri’s signature boots completed the look. Collaborations with local designers and artisans, including Johnstons of Elgin for tweeds and cashmere, Esk Cashmere for knitwear, and Robert Mackie for ceremonial headwear, added depth. Chiuri even visited Harris tweed weavers in the Outer Hebrides, braving the November chill. She also partnered with Samantha McCoach of Le Kilt.

At its core, everything begins with Dior and its global legacy. Inspired by images from a postwar 1950s charity fashion show in Scotland, Chiuri was drawn not to its formality but to the candid shots of models mingling with locals. This clash of dream and reality is where the magic lies. This reflection on past shows likely influenced her thoughts on contemporary fashion. While her Scottish-themed resort show retained her signature realism, it was imbued with greater theatricality and flair than previous collections. Fashion’s three-dimensionality—literal and metaphorical—has never been more vital. This collection communicated profoundly, even resonating over the skirl of the bagpipes.