HAUTE COUTURE WEEK SPRING/SUMMER 2025: DAY 1
words ELIYA WEINSTEIN, FIONA FROMMELT and NIA TOPALOVA
editors MARIE-PAULINE CESARI and MAREK BARTEK
SCHIAPARELLI
all images SCHIAPARELLI provided by the brand
This season, Schaparelli reminded us of the forgotten wonders of Haute Couture in its golden era. While the SS25 collection is defined by the curvy forms and exuberant materials of the 1920s and 1930s, Daniel Roseberry holds himself accountable to the highest standard by “creating something that feels new because it's old”.
His quest did not stop at venturing back in time, rather Roseberry set out to find the inspiration and unlimited imagination that seems to have faded away as fashion has entered modernity. His vision unravelled after the discovery of ribbons manufactured in France over a decade ago and lost during the World Wars, and from there he blew the dust off buttery and warm vintage hues to revive the obsessions of the great couturiers. Titling the collection “Icarus” was not only a reference to the feathers bathed in glycerin and brushed with keratin that evoked the luxurious fluidity of exotic furs, but also a promise to continue reaching for the highest of heights.
As the heartbeat of Schiaparelli, the corset became the centre of experimentation with shockingly sharp forms and a mastery of techniques that allowed delicate toile to provide remarkable structure. At the helm of her house, Roseberry also highlighted Elsa’s ingenuity by revisiting her prewar jackets with a more extreme silhouette and her halter gowns with new materials. “Haute Couture is defined by a quest for perfection”, he summarised in his show notes, and from the greatness of his bias-cut floor-length skirts to the finest details on his Matador and Japanese bugle beadwork, it is clear that Roseberry is on the right path.
GEORGES HOBEIKA
all images GEORGES HOBEIKA via tag-walk.com
Georges Hobeika’s 2025 Spring Couture collection was a tribute to his mother Marie Hobeika, the heart and foundation of the House, who passed away last year. George’s love and commitment to craftsmanship comes from his mother, who was the first one to teach him how to sew. Georges and his son – Jad Hobeika, honor Marie through this collection, celebrating her timeless impact and influence.
The collection embodied a great sense of sensuality, precision, elegance, and grace. Dark tones prevailed in the first part of the show. The models walked with tears in their eyes, wearing black veils that were gently covering their faces. As the show went on, lighter and more vibrant colours started to come through gently, leading us to a beautiful finale showcasing a long ivory gold dress with a white veil uncovering the face of the model – reminiscent the process of the soul’s release, merging with eternity and finally embracing absolute harmony and peace.
DIOR
all images DIOR via vogue.com
The floral motif has existed throughout Dior’s entire legacy, with each creative director preserving its connection to the brand's roots. The tradition started long ago with Christian Dior’s sister – Catherine, who was a French Resistance fighter during World War ll. After being released from the concentration camp she was finally able to embrace her love for gardening and flowers, and this is how Dior’s floral fascination began.
Maria Gracia revisits her own work with the eyes of a child, creating the flower-woman living in wonderland, the child-woman who adapts the world to her scale and crosses as many boundaries as she wishes. She draws inspiration from the Trapèze line conceived for Dior in 1958 by Yves Saint Laurent – who introduced the silhouette for the first time to Haute Couture. For this season Maria created a modern and practical version of the crinoline, draping her flower-woman in petals. The delicate structure, hidden beneath the fabric, reveals threads swaying like embroidered branches. She then introduced us to her bird-woman adorned in feathers delicately crafted in organza. Drawing inspiration from the Cigale silhouette designed by Christian Dior for the autumn-winter 1952-1953 haute couture line, Maria adopted a little skirt paired with a fitted tailcoat, accentuating the contrasting proportions.
Rithika Merchant – a visual artist exploring comparative mythology, science and speculative fiction – was commissioned to create an immersive artwork translated into large-scale textile panels, forming a visual landscape convening stories of womanhood across generations. The artwork was unveiled during the défilé in the garden of the Rodin museum.
RAHUL MISHRA
all images RAHUL MISHRA via vogue.com
This collection was a testament to many things: our planet, humanity, environmental concerns, but most importantly, to Rahul Mishra as an artist and designer. It merged themes of grief and despair with a hopeful vision for our future and planet. The Pale Blue Dot was inspired by Carl Sagan and deeply influenced by environmental issues as well as the illness and recent passing of the designer’s father.
The runway was a beautiful homage, and Mishra pushed his couture craftsmanship to new heights. Dystopian cityscapes draped over the gowns, and 3D ravens hovered around them. A variety of veils added depth to the narrative and the silhouettes brought the drama. Besides gowns, the runway showed elegant tight body-suits, short dresses and capes with a focus on dimension and shoulder accentuation. We watched intricate hand-embroidery, the use of glass and metal, and stunning 3D elements walk down the runway. This visual poem evolved from beautiful yet dystopian black gowns to shimmering, radiant gold designs. This collection was a stunning gradual journey toward hope.
GIAMBATTISTA VALLI
all images GIAMBATTISTA VALLI provided by the brand
From designing dresses on his Barbie doll as a child, to building up his own Maison to craft his tailored to perfection designs, Giambattista Valli devotedly continues to celebrate the true essence and beauty of women through his work.
His 2025 Haute Couture collection featured seamlessly draped gowns in ivory silk, embroidered with “briolette crystal chains”, sequins and pearls, duchess bows and floral motifs. The models strode gently adorned in hand-painted silk organza and delicately draped flowers. The pieces seemed to belong to an era of extraordinary elegance, soft yet quietly powerful. Intrigued by the conversation between opposites, he combines big volumes with super-slim shapes sculpted in a very light and delicate way.
The runway itself was covered with a traditional Moroccan carpet – referring to Giambattista Valli’s appreciation of his heritage and his fascination with the interior, atmosphere, colours, and especially the rose fields. He shares that as soon as you get to Morocco you change your mind as well as your taste, you are so drawn to the beauty and lively colours that you simply cannot help it. Valli named the collection after the flourishing gardens in Marrakesh “Les Jardins de la Ménara”.