The haute couture shows hold a unique place in the fashion calendar. Staged twice a year, they represent the height of Parisian artistry, showcasing garments that are unparalleled in craftsmanship and intricacy. Each couture piece is meticulously constructed by hand, often requiring hundreds of hours to complete, and must be individually tailored to fit the exact measurements of the client - a strict requirement for the haute couture designation. The shows themselves are suitably extraordinary: whether hosted in opulent historical salons with a select audience or staged with elaborate set designs and A-list attendees, they offer a rarefied glimpse into fashion’s most exclusive domain.
"Haute couture is not merely about garments - it is the living theatre of fashion, where history, craftsmanship, and imagination collide. Each stitch carries the weight of legacy; each silhouette, the promise of what is yet to come. In a world in flux, couture remains fashion’s most profound expression, a place where the past is reinterpreted, the present is exalted, and the future is elegantly foretold." - Charles Daniel McDonald
This season ushers in a series of significant transitions. Chanel will unveil its final collection created by the in-house design team ahead of Matthieu Blazy’s arrival later this year. Dior has opted to forgo participation to allow Jonathan Anderson time to settle into his creative leadership. Meanwhile, Demna will bid farewell to Balenciaga with his last collection before stepping into his new role at Gucci. Over at Maison Margiela, Glenn Martens is set to debut his first collection, succeeding John Galliano. The week’s calendar is rounded off with presentations from Schiaparelli and Armani Privé. Live from Paris, here are the highlights from the standout shows of the Autumn/Winter 2025 Haute Couture Week.
SCHIAPARELLI
For his latest Haute Couture offering at Schiaparelli, American designer Daniel Roseberry drew inspiration from evocative black and white white photographs he uncovered in the house’s archives, dated 1940, just before the German occupation of France. “This collection pays homage to that era, a moment on the edge of collapse, a farewell to elegance and the end of a world order,” he wrote in a pre-show note. Later, he described the mood as one of simultaneous grief and urgency, capturing the tension of a time when culture teetered on the brink. Archival echoes were apparent in the reimagining of a jewelled version of the 1938 ‘Apollo’ cape, while Schiaparelli’s deep ties to the Surrealist movement resurfaced in a gown that twisted the body’s silhouette in reverse, punctuated by a mechanical heart that visibly pulsed as the model strode through the Petit Palais.
Yet Roseberry wasn’t merely engaging in retrospective homage, this collection signalled a pivotal shift. It marked a movement towards a redefined aesthetic for Schiaparelli. On the catwalk, this was illustrated through a symbolic departure from the corset - a structural mainstay in Roseberry’s past collections. Referencing Gabrielle ‘Coco’ Chanel, Elsa Schiaparelli’s contemporary and counterpoint, Roseberry highlighted a divergence: “While Chanel pursued functionality in dress, Elsa explored fashion’s artistic potential,” he remarked. “Could a garment transcend its purpose and become art? What might fashion reveal when seen through an artistic lens? These questions challenge what we ask of fashion today.”
In this show, Roseberry sought to navigate the tension between restraint and extravagance, between structure and freedom. Even garments that hinted at corsetry were constructed with methods that afforded the wearer movement and comfort. The collection embraced whimsy and theatricality: visual illusions, ornate surface work, and nods to matadors and equestrians - including a striking piece featuring a satin saddle built into the garment, brought his vision vividly to life. In fusing such disparate eras and references, Roseberry posed a provocative thought: “If I immersed myself entirely in the past, might the result appear as if born from the future?”
This exploration extended to his personal trajectory at the house. “In some ways, this feels like a kind of goodbye,” he hinted backstage, alluding to forthcoming structural changes within the brand. “We’re preparing to overhaul the way we work. If you want a different outcome, you need a different process. I’m ready to keep evolving, and I’d prefer if no one could predict what comes next.”
ARMANI PRIVÉ
Giorgio Armani’s most recent Privé collection, the haute couture expression of his renowned Italian fashion house, found its origin in the colour black. “Black is far from uniform; it unveils a full spectrum of tone and nuance,” declared the show notes, a sentiment reflected in the depth and variety seen throughout the presentation. The richness of the pieces was conveyed through lavish embellishment: delicate floral appliqués, shimmering paillettes, and an abundance of glistening crystals all contributed to the visual opulence. A variety of luxurious textiles; from deep hued jacquards and velvety finishes to luminous organza, further enhanced the tactile and tonal depth of the collection.
The setting for the show was the Palazzo Armani, which officially opened its doors last season. Notably absent from the proceedings was Mr Armani himself, who remained in Milan as he recovered from a recent illness, having also missed appearances at his menswear showings the previous month. Despite his physical absence, sources confirmed that his presence was felt throughout, he continued to oversee every detail from afar, ensuring the presentation met his uncompromising standards.
BALENCIAGA
“Fashion thrives at the edge of what’s to come - not in certainty, but in the exhilaration of the unknown,” read a handwritten note from Demna, carefully placed on each seat at Balenciaga’s storied couture salon on Avenue George V last Wednesday. The venue, steeped in heritage since Cristóbal Balenciaga first opened its doors in 1937, was meticulously restored by Demna in 2020, down to its aged patina and period décor. The letter served as a fitting prelude: the Georgian designer, who first made waves with Vetements and later shaped a decade at Balenciaga, is set to depart for Gucci later this month, where he will take the helm of both men’s and women’s collections.
This presentation thus marked his final couture outing for the French maison, and it unfolded as both a farewell and a celebration. The intimate salon filled with familiar faces; close friends, collaborators, and icons, many seated on the same gilded chairs once used by Balenciaga’s original clientele. On the catwalk, celebrity muses including Kim Kardashian and Isabelle Huppert graced the runway, blurring the line between guest and model. A key influence on the collection was Demna’s long standing fascination with the Golden Age of Hollywood. Faux mink coats, painstakingly constructed from feathers, were layered over delicate slip dresses, while hourglass gowns dubbed ‘Diva’ and ‘Debutante’ referenced mid-century screen sirens. One shimmering in black sequins paid tribute to Marilyn Monroe, while another, crafted from weightless organza, exuded refined femininity. Around Kardashian’s neck glittered jewels reminiscent of Elizabeth Taylor’s, specially created by renowned jeweller Lorraine Schwartz.
The collection also embraced a darker vision of sophistication, visible in sharply engineered tailoring with collars rising theatrically in a nod to Gothic cinema. Demna described this segment as a play on bourgeois codes, with one look featuring a polished gold briefcase as an accessory. Menswear brought a more relaxed silhouette: classic tuxedo suits were exaggerated in form, referencing the fluid structure of Neapolitan tailoring. Produced by traditional workshops in Naples, the eight jackets were conceived as ‘one size fits all’ - a concept playfully demonstrated by a bodybuilder security guard model taking to the runway in one.
Closing the show was Eliza Douglas, a long-time Balenciaga muse, dressed in an architectural guipure lace gown that offered Demna’s modern, subversive take on the traditional couture bride. Since reviving Balenciaga’s couture line in 2021, Demna has arguably delivered his most refined work, combining technical mastery with contemporary attitude – free from sentimentality but full of emotion.
CHANEL
Chanel’s latest couture presentation unfolded within the Grand Palais, where the Salon d’Honneur was elegantly reimagined by Canadian designer Willo Perron. The space was transformed into a refined homage to the brand’s legendary Rue Cambon couture salon, complete with champagne-hued drapery, a sweeping white carpet, and plush banquette seating - tribute, as the house described, to “the imaginative spirit of 31 Rue Cambon in Paris, Chanel’s singular couture address for more than a hundred years.”
The theme of the collection, however, took its cues from the natural world. A single golden ear of corn placed delicately on each guest’s seat hinted at the show’s pastoral inspiration, a nod to Gabrielle ‘Coco’ Chanel’s enduring affection for the outdoors, particularly the rugged landscapes of the Scottish Highlands.
On the runway, the artistry of Chanel’s ateliers was on full display. Meticulous embellishments, shimmering beadwork, delicate feather accents on classic tweed, ethereal layers of silk and shaded tulle, were combined with elements drawn from the countryside. Floral appliqués appeared to drift down garments like falling petals. In contrast to such softness, models wore robust, thigh high boots suggestive of rural walks through fields and moorland. Bouclé fabrics mimicked the texture of sheepskin, and voluminous feathers hinted at the warmth of fur.
Chanel described the collection as “an invitation to greener pastures,” a fitting metaphor for a brand in the midst of transition. This marked the final collection designed by the in house Creation Studio, ahead of Matthieu Blazy’s anticipated arrival in October 2025, signalling a new chapter for the iconic fashion house.
Haute Couture Week A/W 2025 proved to be a season defined by transition, reflection, and reinvention. As legendary houses bid farewell to creative leads and prepared for new artistic chapters, the collections captured a unique tension between legacy and innovation. From cinematic grandeur and archival homage to explorations of nature, structure, and surrealism, each show offered a distinct perspective on what couture can represent in a rapidly evolving world. More than a showcase of craftsmanship, this season served as a testament to fashion’s enduring ability to dream, disrupt, and reimagine, whilst standing firmly at the intersection of history and the horizon.
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