Impact. The Row Pre-Fall 2025

Ashley and Mary-Kate Olsen keep on taking over Paris by storm – a quiet one, but highly impactful. The minimalism they study and channel is reaching unbelievable level of perfection, and nearly every second collection we’ve seen this season is somehow inspired by The Row. Plus, the twins opened their first boutique in town, on the ultra-chic rue de Mont-Thabor, filled with design pearls: dressing-room door by Jean Prouvé that sells on auctions for $101,600, Victor Courtray’s chairs reaching up to $14,000, and Vadim Androusov’s wheat-shaped sconces. The store itself feels like a understated sanctuary, which during Paris Fashion Week was besieged by literally everyone. You could easily spend 30 minutes in the line.

The store opening happened in the same week the Olsens presented their pre-fall 2025 collection. The fashion show had a no-photos policy that some people just couldn’t respect as most industry insiders had a leaked video in their DMs. Lookbook came out a couple of days later, and here’s the thing: the designers are smart about not falling into the hype-trap. They aren’t dramatically voluming up on their creativity just to deliver the clicks; rather, they keep on refining their already-perfect skills in dress-making and tailoring, and also very luxe apparel. Yet there was also a rawer, perhaps more conceptual and lightly experimental edge at work here too; an embrace of where beautiful imperfection could possibly take them. Earthy organza tank, constructed from layers of fabric, over white pants; a gray cocktail dress which looked as though a swathe of raw-edged fabric had been pulled around the body, with a black bodice underneath keeping it in place; and a gorgeous black sheath with a panel which fell in a trail from one shoulder. Sublime.

A couple of The Row pieces I’m thinking about…

ED’s SELECTION:

The Row Depinal Ribbed Cashmere And Mohair-blend Turtleneck Sweater


The Row Lana Leather Point-toe Pumps



The Row Jerome Double-breasted Silk-satin Jacquard Blazer


The Row Patillon Topstitched Wool And Mohair-blend Midi Skirt


The Row Isora Oversized Cotton-poplin Midi Dress



The Row Sofia Mini Leather Shoulder Bag

 

Collage by Edward Kanarecki.
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Pure & Sincere. Niccolò Pasqualetti SS25

It’s Niccolò Pasqualetti‘s fourth fashion show, and you could sense real, mature confidence oozing in his spring-summer 2025 collection. The line-up orbited around the connotations with water (“something absolutely pure, something sincere“) and explored contradictions, mixing unexpected combinations of artisanal fabrics with a more refined, pared-back silhouette that played with feminine and masculine notions. Think oversized trench coats and sleeveless jackets, viscose blazers paired with translucent trousers; swimsuits were worn under asymmetric tops and evening gowns. Niccolò also experimented with sequins in many forms: large paillettes glimmering like the sun on the ocean’s surface, sometimes merged with feathery fringes, producing an unusual, chimeric texture. Found objects, like shells and various trinkets were attached to floor-sweeping metal chains, and occasionally integrated into the clothing. Pasqualetti is a designer surrounded by a nurturing support system: his collections are styled by Samuel Drira, while lookbooks are shot by Cecile Bortoletti. The spring fashion show was accompanied by the heavenly – and sublimely intoxicating – fragrance by Vilhelm Parfumerie called “Basilico & Fellini“. It all makes sense.

I had the utmost pleasure of attending Pasqualetti’s show – which makes me super happy as I truly appreciated this collection. Here’s a backstage look:

Collage by Edward Kanarecki.
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Dries Without Dries. Dries Van Noten SS25

It’s still very difficult to comprehend that Dries Van Noten is no longer designing Dries Van Noten. Even though the Belgian designer was in cheerful (and relaxed) attendance at the first studio-designed collection, I find it hard to feel persuaded by the spring-summer 2025 line-up. As Cathy Horyn put it in her review, it’s generic. No narration behind it, just very commercial-looking clothes with no essence or urgency. The collection seemed to check all the boxes what a Dries offering should look like: florals, embroideries, a tension between feminine and masculine. But that’s not enough to make this absolutely important – and needed – brand thrive without its founder at creative helm. A confident mind is needed, ASAP. I would give the job to Jun Takahashi of Undercover – that would be a beyond beautiful match! – or the über-talented, emerging designer Niccolò Pasqualetti.

I shed a tear at the Dries Van Noten boutiques on the Left Bank. I hope these stores will never be rebranded, they are just too charming and 100% Dries!

There’s still time to snap some “real” Dries. Here’s what I would buy…

ED’s DISPATCH:

Dries Van Noten Checked Woven Maxi Dress

 

Dries Van Noten Gold-tone, Beaded, Crystal And Faux Pearl Choker

 

Dries Van Noten Metallic Jacquard-crepon Coat


Dries Van Noten Oversized Gathered Satin-twill Jacket



Dries Van Noten Bead-embellished Embroidered Velvet Clutch

 

Collage by Edward Kanarecki.
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Lightness. Chloé SS25

Pardon my review absence for the last couple of days, but I was in Paris for fashion week. I’m catching up now – equipped with a much-needed, refreshed perspective on what’s going on in the industry, IRL. Let’s start with Chloé!

Chemena Kamali is on a roll. It’s her second full season at Chloé, and the way her take on the brand resonates with the industry – and clients who are literally storming the boutiques in Paris! – is a rare thing to see nowadays. Also, comparing to other designers this season, she presented a proper, summer collection that actually felt summer-ish. And just like in her confident debut, Kamali once again showcases her intimate understanding of Chloé’s history. Photos of Karl Lagerfeld designed collections were pinned to the mood board in her studio. Two of her most inspired lifts were the waist shapers of spring 1977 and the lace bloomers of spring 1978. Jackets – in sturdy workwear cotton or soft suede – gave the sensual lightness of these pieces a reality check. It’s good to see flou femininity back on Chloé runway – for some reason, Kamali’s predecessors thought it wasn’t the right thing to channel. But there’s a new sense of strength in these carefree girls and women wearing floral-bouquet-print dresses in cascades of ruffled chiffon.

And speaking of Chloé stores in Paris, here’s what I saw at the rue de Saint-Honore boutique: the perfect marriage between retail and art. Mie Olise Kjærgaard‘s absolutely beautiful paintings are exhibited across the entire space, perfectly matching the current season.

And FYI, here’s what you should get from new Chloé!

ED’s SELECTION:

Chloé Mona Fringed Leather Pumps


Chloé Cape-effect Open-back Ruffled Silk-crepon Gown


Chloé High-rise Wide-leg Jeans


Chloé Eve Ruffled Suede Knee Boots


Chloé Bracelet Embellished Leather Shoulder Bag

 

Collage by Edward Kanarecki.
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Gossamer. Magda Butrym SS25

Magda Butrym’s spring-summer 2025 “Gossamer” collection marks the house’s first-ever presentation during Paris Fashion Week’s official schedule. The collection fully captures the designer’s sophisticated, distinct and authentic sense of style and aesthetic that she has formed throughout a decade of her oeuvre. It also encapsulates a certain sentiment that’s close to her heart: gossamer.

A fleeting moment, a notion deeply rooted in Slavic sensitivity, a feeling thin like spider’s web drifting in the warm air, an invisible season that softly wraps the senses and dazes the mind. A sun-drenched moment that’s sheerly feminine in its subtlety and changeability. Blink, and you miss it. But when you happen to perceive it, you feel like in a dreamworld.

The spring-summer 2025 collection captures a sense of contemporary urgency and uncontrived, lively chic. Body-hugging, artisanally-woven crotchet is instinctively layered with utilitarian minimalism in form of high-necked, cotton cargo jacket or suede, broad-shouldered coat with a just-right, over-sized fit. Silky jersey dresses that strike with flou lightness are put in unobvious contrast with pragmatic trench-coats and no-nonsense leather outerwear. Floating-in-the-air veils are complementing the unashamedly sexy eveningwear that is subtly flourishing with draped rosettes – and is not afraid of subversive cuts and slits. With new shapes and sizes of the house’s Brigitte it-bag and sling-back mesh pumps covered in intricate crotchet, the collection is a thoroughly considered blend of womanly mystery, daring attitude and Slavic Heritage preciousness.

Other than the idea of gossamer, the collection’s creative impulse are the enduring and singular depictions of Slavic women seen in paintings by Polish artists from the turn of 19th and 20th century: Stanisław Wyspiański, Jacek Malczewski and Józef Chełmoński. In their idiosyncratic, artistic perceptions, where reality blends with buoyant dreams and mystical beliefs, and the visual codes of Polishness are eternally preserved, women are reflected as both strong and sensual; assertive and mythical; refined and esoteric. These women are in-between the real world and the world of goddesses. Their heads are swathed in swirling shawls and draperies – a bold, exuberant vision that inspired SS25’s sculptural headscarves woven with metal threads. Their bodies are covered – and uncovered by gusts of wind – with layers of flimsy silks and precious lace, like literal gossamer. Yet these characters are in their element, in full control of their destiny. In those paintings, women emanate with commanding, perplexing and empowering energy that inspires – and intrigues – the designer. In her SS25 collection, Magda Butrym paints – with transparent jerseys, hand-made crotchets, lasting cottons, brisk suedes and smooth leathers – a portrait of a woman who encapsulates that kind of modern mysticism.

This woman is nobody’s muse – other than her own.

Collage by Edward Kanarecki.
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