Paris Fashion Week is never short on drama, but this season felt particularly charged. With Haider Ackermann’s much-anticipated debut at Tom Ford, Coperni transforming the runway into a digital playground, and Sarah Burton making her first move at Givenchy, there was plenty to talk about. Add to that Marine Serre’s commitment to sustainability, Rokh’s sharp deconstruction, and Miu Miu’s playful layering, and you’ve got a week that delivered on spectacle and substance. YSL leaned into power dressing with a sharp, masculine edge, while Kenzo made its first return to Paris womenswear in nearly a decade.
Schön! was there to witness it all. Below, a closer look at the standout shows that defined Paris Fashion Week.
Anthony Vaccarello dialled up the tension this season, stripping Saint Laurent down to its sharpest essence, but also departing from the brand’s iconic use of black. Instead, the runway was filled with a vibrant array of colours, including fuchsia, green, muted oranges, and yellows, alongside floral and cheetah patterns. The show opened with razor-sharp tailoring — powerful shoulders, cinched waists, and floor-grazing coats that exuded quiet dominance. Leather trench coats, sheer blouses, and the kind of structured outerwear that demands attention set the tone. But it wasn’t all rigidity — soft jersey draping and delicate pleats added just enough fluidity.
Sarah Burton’s first collection at Givenchy was a standout this season. Burton drew inspiration from Hubert de Givenchy’s 1952 debut collection, incorporating hourglass waists and exaggerated shoulders into her designs. The powder compact dress, a flesh-toned mini bustier covered in antique powder compacts, was a standout, evoking the idea of a model “spilling the treasures of her handbag.” The collection also featured closely-cut blazers, longer-length jackets with nipped-in waists, and flirty dresses in ivory and black with swinging trains. Additionally, severe leather pieces, such as a part-puffer-part-pencil-skirt dress and a biker mini, added a modern edge. Burton’s collection aimed to capture the essence of modern women. It felt like the first chapter in a longer story — one that hints at quiet transformation rather than immediate reinvention.
Miuccia Prada has a knack for redefining femininity, and this season at Miu Miu, she did it with a playful yet considered hand. Lingerie elements peeked through — cone bras subtly visible under chunky knits, sheer slips layered under structured coats — balancing sensuality with everyday wear. The silhouettes struck a perfect contrast: sculpted yet effortless, cinched but never rigid. Colours ranged from muted mustard and dark olive to seafoam green and electric purple, with flashes of fiery red and orange. Accessories leaned into vintage glamour, with oversized gold brooches, layered bracelets, and twinkling tennis necklaces paired with plush fur shrugs. It was femininity with a knowing wink — elegant, expressive, and a little undone, exactly as Miu Miu does best.
Marine Serre’s collection at La Monnaie de Paris initiated a powerful dialogue between illusion, symbolism, and transmission. Guests received coins stamped with the moon and Serre’s profile, serving as talismans rather than currency. At 30, and after seven years building her fashion house, Serre presented 47 looks blending sensuality and strength. Silhouettes evolved to be graceful and structured, referencing 1950s and 1980s femme fatales. The iconic catsuit opened the show, with moon-tattooed leather as a second skin. Upcycled materials like biker pants transformed into couture dresses, embodying eco-futurism. The collection transitioned from white to black, with deep reds pulsating energy, inspired by David Lynch’s universe. Trompe-l’œil became a language, blurring appearance and reality, revealing mature radicalness, structure, and grace.
Leave it to Coperni to turn a runway show into a cultural moment. This season, they transformed the catwalk into a full-blown LAN party, complete with 200 gamers locked into screens as models wove through the space. The collection felt equally plugged-in, with sleek, cyber-inspired tailoring, metallic textures, and a standout accessory: the Tamagotchi bag, a nostalgia-laced reworking of the brand’s signature Swipe silhouette. It was a clever blend of past and future, proving that Coperni knows exactly how to tap into the cultural zeitgeist.
Rok Hwang has long mastered deconstruction, but this season, he sharpened the concept with even more precision. AW25 was an exercise in contrasts — rigid yet fluid, structured but undone. Oversized trenches were sliced at unexpected angles, pleated skirts hung partially unfastened, and tailored coats were shrugged on with just the right amount of off-kilter ease. A muted palette of greys, deep blues, and neutrals kept things grounded, allowing the intricate constructions to remain effortlessly wearable. Set in a deconstructed old French maison, the runway echoed the collection’s themes, where sculptural body pieces clung to models like modern armour, balancing restraint and release. Fabric was twisted, moulded into floral sculptures, and draped with architectural precision. This was Rokh at its best — proving that even the most experimental silhouettes can feel instinctive.
Haider Ackermann’s debut for Tom Ford was a study in control — every cut, every hue, every shimmer placed with intention. The show, set against fogged glass panels, leaned into quiet seduction, swapping Ford’s usual overt sensuality for something more precise. Sharp leather moto jackets and slinky, low-slung trousers set the tone, while evening wear delivered measured opulence. A butter-yellow gown clung to the body before breaking into a dramatic slit, a pool-blue number draped with liquid ease, and a lavender dress fringed in shimmering strands nodded to ’70s disco without feeling too cliché. Metallic tailoring added edge, while velvet suiting in deep jewel tones reinforced Ackermann’s talent for sculpting fabric around the body. Ackermann filtered Ford’s legacy through his own lens, trading excess for tension. The collection’s crisp lines and calculated glamour even earned a standing ovation from Ford himself — a sign the house is in steady hands.
Kenzo’s Autumn/Winter 2025 womenswear show, Lucky Me? Lucky You, marked the brand’s bold return to the Paris runway after eight years. Under Nigo’s direction, the collection played with contrasts — Savile Row-inspired tailoring met ‘80s volume, while sheer harem pants and crystal pavé belts added a playful edge. Bunny motifs, lifted from a 1979 Kenzo Takada sketch, appeared across knitwear and outerwear, with “Lucky Me” in pink and “Lucky You” in pastel blue. Lingerie-inspired elements, such as peekaboo silk satin camisole slips, added a soft, sensual touch, while accessories like bags with shirred handles and ribbon bow details enhanced the collection’s charm.
photography. Giovanni Giannoni, Kenzo, Tom Ford, Rokh, Coperni, Marine Serre, Miu Miu, Givenchy
words. Gennaro Costanzo
