PARIS FASHION WEEK FALL/WINTER 2025: DAY 5
editors MARIA MOTA, MARIE-PAULINE CESARI and MAREK BARTEK
GIVENCHY
review by ELIANA CASA
all images GIVENCHY provided by the brand
What better way to start the morning than at the House of Givenchy for Sarah Burton’s highly anticipated FW25 debut collection? Some may recall her designs at Alexander McQueen, while others might remember the iconic wedding dress she crafted for the royal Kate Middleton. Well, today it was ‘Sarah Burton at the Givenchy show’, and we simply loved it.
Do you recall the monochrome looks from the FW24 collection? Sarah reinvented them completely. Tailoring, this time, was strong not only in shapes but also colours. A bow, shaped like a black leather scarf, atop a perfectly structured ochre yellow coat, immediately caught our attention. Burton isn’t afraid to play around with the decorous codes of the historical Maison, yet she does so with the utmost respect. Masculine and feminine energies effortlessly blended, as seen in the standout blazer-like dress worn backwards. And then there were the crystal gems — adorning both earrings and a sheer top. Micro Chantilly lace dresses hugged the models’ forms perfectly – giving us the feeling as if Hubert de Givenchy himself was in the room with us. The mini dress set with worn-out makeup palettes stood out, as did those padded leather sleeves, making a bold statement.
The frou-frou tulle mules, twisted ribbon sandals, and silver jewelry completed the looks so seamlessly that you couldn't imagine them any other way. Pops of neon yellow and red sliced through the runway, interrupting the flow of models as they gracefully strutted down the two floors of the house, inviting us to dance to the rhythm of the new era. As for us: “Oui Sarah, we accept the dance.”
At our exit a brown paper packet containing photos and descriptions of each look were given to us. Inside, we found patterns reminiscent of Hubert de Givenchy’s 1952 debut collection. Sarah’s journey into this FW25 collection began and ended exactly there, back in the past: “To go forward, you have to go back to the beginning. To me, that’s about the atelier,” she explained.
ISSEY MIYAKE
review by ELIANA CASA
all images ISSEY MIYAKE via vogue.com
When you think of Issey Miyake, you immediately associate the brand with words like deconstruction and transformative clothing. This FW25 collection was no exception—rather, it was a reassuring ‘welcome back.’ This afternoon, we were greeted by dancers (a nod to previous shows) performing live on the runway. In an almost performative fashion act, they changed into clothes left on the ground, with each piece waiting to be discovered and distorted. Slowly, they transformed into living sculptures – their bodies were in motion, shifting positions inside the garments in the most unexpected ways. Then, as the show began, they ceased their movement, becoming real sculptures, while models moved through them. Once again, in a true Issey Miyake spirit, designer Satoshi Kondo brought fashion to life.
With a twist on the perception of clothing (much like Salvador Dalì), the designer layered nearly every look, bringing collars to new sizes and shapes. The inspiration behind came from Austrian artist, Erwin Wurm, whose work is based around the concept of decontextualizing familiar objects in original ways to stimulate the viewer's creativity. With this idea in mind, clothes were worn backwards, upside down, front to back, and vice versa; “paper bags” became tops, and sweaters were draped in endless ways around the models' bodies. At Miyake, one thing is certain: there are no rules, except for two or three – the rules of feeling, movement, and ambiguity.
The clothes challenged all of our senses, in a pleasant way for some parts, like the puffed-up pieces resembling the softness of pillows or clouds. In others, especially towards the end, they were almost almbivalent, like the dresses that chained the arms or the oversized hats that covered the models' faces. And, this was exactly the motif behind the collection “[N]either [N]or”: challenge what’s considered ordinary and what’s not, by using the powerful tools of imagination and freedom.
MATIÈRES FÉCALES
review by ELIYA WEINSTEIN
all images MATIÈRES FÉCALES via vogue.com
Matières Fecal, or in English Fecal Matter, duo Hannah Rose Dalton and Steven Raj Bhaskaran met 10 years ago in a pattern-making school and have together become some of the most idiosyncratic figures in fashion, makeup, and the techno music scenes. While it isn’t their first time designing a collection, it’s the first time they’ve felt that the world they created for themselves and their self-acclaimed band of social outcasts has been ready to receive their sartorial manifesto “Provoke Society” in the form of this collection.
The collection came as an extension of their being, alienesque silhouettes that seem natural with their bald heads and gothic makeup. Razor-sharp tailoring enhanced the elegance of their sculpted forms. Hannah and Steven find harmony between couture and ready-to-wear, with body-conforming and extenuating dresses, suiting, and coats wrapped in tulle and adorned with feathers. High necklines and bold shoulders felt like armour, their offering of protection in reflection of the harsh judgments that they and their peers have to face.
Hannah walked the runway herself, alongside her friends and family, in a finale dress titled “Angel Arc”. The micro hand-pleated chiffon dress seemed to come straight from the heavens, finished with glorious wings that could have taken flight at any moment.
GIAMBATTISTA VALLI
review by ELIANA CASA
all images GIAMBATTISTA VALLI provided by the brand, © Daniele Oberrauch / Gorunway.com
This season, volumes were softened to make way for more streamlined, linear silhouettes. Could coziness and relaxation be the trends of the moment?
Fabrics moved gracefully around the models' bodies, with playful ruffles adorning silk neck scarves, dresses, skirts, and collars. The Giambattista Valli woman is at ease with herself, never losing the elegance and refinement that define the brand. However, voluminous shapes still made an appearance, notably in the form of fringes that complemented tweed skirts, coats, scarves, and vests. One thing was certain: prints took center stage, adding movement and depth to the collection's color palette.
One of the main highlights – the bags. They came in woven leather, shaped like small baskets or larger totes, and oversized leather pouches. These were all presented in soft pastel tones (lilac, pink, light brown) juxtaposed with bolder hues like orange, dark brown, and bordeaux.
NINA RICCI
review by NIA TOPALOVA
all images NINA RICCI by Paolo Caponetto provided by the brand
The Fall/Winter 2025 collection shaped the new era of the Nina Ricci woman – one which abounds in romantic glamour, insouciance and sexy confidence - depicting Harris Reed’s vision of the brand.
The silhouettes embodied seductive fluidity, as models walked in faux fur coats, amethyst velvet ribbon details, sheer dresses with black beads and sequins, combined with internal corsetry and wispy lingerie-inspired shorts, elegant peacoats, smoking jackets and capes, and cowl-neck leathers. The dramatic slashed necklines of silk and rippling blouses alluded to the wardrobe of Michelle Pfeiffer in 1983’s Scarface, while a watercolour zebra print drew inspiration from the 70s wardrobe of Ali McGraw.
The colour palette combined the classic blacks and whites with rich tones of ruby, materialised in velvet, silk, and lace. Headscarves were accented with floral velvet ribbons tied around the neck, combined with handle bags with elongated straps, embellished with beads or in a cowhide print, reimagining a 1996 silhouette from Nina Ricci’s archive – emphasising Reed’s continuous exploration of the brand’s DNA.
CHRISTIAN WIJNANTS
review by MAREK BARTEK
all images CHRISTIAN WIJNANTS via vogue.com
Christian Wijnants’ latest collection was effortlessly sophisticated. The designer continues to explore the intersection of elegance and comfort, crafting a wardrobe for the modern woman who moves through life with quiet confidence. The silhouettes were fluid, the fabrics draped and wrapped around the body in a way that felt both contemporary and timeless.
Pointed shoes— reminiscent of a storybook dwarf—grounded the looks with a sharp contrast to the collection’s softer elements. Sweaters, shirts, and dresses featured ‘built-in’ scarves, an interesting fusion of practicality and design. Puff bags and jackets added a voluminous touch, reinforcing the theme of enveloping comfort. There was an apparent and deliberate play between structure and movement: long shapes created dynamic silhouettes as the models walk, and open backs disrupted the otherwise modest front necklines, subtly shifting the perception of exposure.
Teddy-bear fabrics brought that plush, tactile quality, while beanies tied like scarves or bandanas added a casual, almost bohemian spirit. Even the accessories contributed to the overall mood—bags were cradled under the arm, folded like soft pillows. In one standout moment, fringes made an appearance, adding a shimmer of texture. Wijnants’ vision is clear: this is fashion that speaks in textures, in gestures, in ease. A quiet luxury that is impossible to ignore.
KENZO
review by SONNY NGO
all images KENZO via vogue.com
Is it hot or cold outside? No clue, but it is fun outside – that is, if we are to believe Kenzo’s latest womenswear collection. A playful mashup of childhood nostalgia, streetwear, and high fashion edge, this season was all about subverting expectations. Under the creative direction of Nigo, the collection was chaotic in the most intriguing way. Layering was deconstructed and tailoring was oversized, while whimsical accessories pushed a contemporary coolness to the forefront along with structured blazers set against parachute-like trousers. Never let them know your next move, indeed.
The detailed styling additionally amplified this frisky energy – think of exposed lingerie-inspired details, fitted caps, and a bold golden ‘KENZO’ statement belt. The true highlights, though, were the pastel blue and pink bunnies. It appears Easter arrived early this year, and its bunnies are in galore. Coats were adorned with the stuffed animal and hoodies included massive bunny ears. Shirts showcased an adorable Kenzo bunny and scarfs were not safe either, as their shapes were transformed into the pet. Oh, and the shoes? Plush slippers (something I am sure we all used to wear as a kid).
Nigo continues to lift Kenzo into a space of humour, play, and streetwear. The collection was as much about the clothes as it was about irreverent attitude, coziness, and an effortless cool. An ultimate lookbook for those who refuse to be contained by predictable limits.
YOHJI YAMAMOTO
review by FIONA FROMMELT
all images YOHJI YAMAMOTO via vogue.com
Known for his avant-garde, deconstructed silhouettes, masterful draping, and signature use of black, Mr. Yamamoto brought us a collection that felt rebellious and poetic. With his philosophy of craftsmanship, this collection played with different styles of intertwining clothes and patchwork ideas, a continuation of SS25.
Braided fabrics created large tows, knots, and fantastical silhouettes. The colour palette remained dark, with mostly blacks and dark blues, while the only colour on the runway was purple. The collection had an almost dystopian flair, which was exaggerated through raw textures and rough edges. Denims and leather were beautifully mixed and layered in dresses, jackets and skirts. Oversized coats and skirts were intertwined with braids or leather strings, while dresses were artfully draped and secured with braided details. Having a raw compositional touch, we saw patchwork dresses connected through metal rings and different fabrics sewn together in coats and corsages.
The grand finale featured seven models on the runway together, five of whom wore black coats. In a theatrical reveal, they dramatically reversed their coats, unveiling the show’s signature highlight colour— purple, ending this show on a note of optimism and hope.
VICTORIA BECKHAM
review by MAREK BARTEK
all images VICTORIA BECKHAM via vogue.com
Victoria Beckham’s latest collection was full of precision and poise, where every detail felt deliberate yet effortless. Her signature understanding of the female silhouette remained at the heart of her designs, with elongated trousers, fluid evening gowns, and structured tailoring that exuded quiet confidence. There was a careful balance between innovation and wearability—Beckham’s personal approach to design, rooted in real-life experimentation, ensured that each piece was not only striking but also functional.
Movement played a crucial role this season, with draped fabrics, open-back details, and subtle wired structures adding a sense of fluidity. The eveningwear was particularly compelling: sharp tuxedo-inspired pieces reimagined in satin wraps, alongside 1930s-influenced dresses with understated embellishments that felt both modern and timeless. Her knack for elongation showed especially on trousers that seamlessly extended into footwear, creating an uninterrupted, statuesque line.
Despite some conceptual flourishes—fabric rolls sculpted around the body, midriff cut-outs hinting at deconstruction—the collection remained grounded in sophistication. It is this careful tension between experimentation and elegance that makes Beckham’s work so compelling. Each look, whether a sharply tailored suit or a draped evening gown, reflected a refined, assured vision—one that understands what women truly want from their wardrobes.
PANCONESI
review by MAREK BARTEK
all images PANCONESI provided by the brand
With ‘FACETS’, PANCONESI distilled its vision into cinematic form—nine intimate 35mm vignettes that framed jewelry as both artefact and act. Directed by Jordan Robson and inspired by Parajanov’s 'Kyiv Frescoes’, the film series immersed the viewer in a world of micro-gestures and quiet revelations. Each short lingered on the interplay of body, adornment, and movement, revealing jewelry as more than ornamentation—it was transformation.
The Spring/Summer 2025 collection unfolded across a cast including Michele Lamy and Anna Dello Russo, each wearing a family of jewels that embodied PANCONESI’s signature codes: accumulation, texture, and fluidity. Crystals, enamel, and raw metals entwined in sculptural compositions, worn like relics of a personal mythology. Beyond jewelry, PANCONESI extended its narrative to object design. A wine glass, a lamp, a clock—reinterpreted through the brand’s expressive, avant-garde lens. Here, adornment transcended the body, shaping the spaces we inhabit.