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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NET-A-PORTER Limited

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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Bonkers Glam. Vaquera SS25

Vaquera opened Paris Fashion Week with bonkers attitude – but one that is also commercially viable. “We’re still very punk in our roots,” said Bryn Taubensee, “but we’re asking ourselves, how can we also make it easy for people to understand and wear, and easy enough for us to survive?” Patric DiCaprio, the other half of Vaquera’s heart, put it more bluntly: “Shooting ourselves in the foot isn’t really where we see the future for our lives and this brand.” That’s why the spring-summer 2025 collection is all about Vaquera essentials – black bubble miniskirt with built-in bike shorts, bullet-bra tops and jersey tees with logos – with a provocateur twist. The XXL faux-fur coat is a joyous delight, just like the puffy ball-skirt in a kitschy, vintage-y chain print, styled with a monumental cloud-shaped. But there’s nothing whimsy about Vaquera, even their eveningwear as the New York-based duo styles it with over-sized rugby shirts and well-worn trainers.

Collage by Edward Kanarecki.
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Idea of Wow. Bottega Veneta SS25

Bottega Veneta show was livid. It made you love living life! Matthieu Blazy really starts feeling the Italian air and flair of dolce vita. His spring-summer 2025 was a joyous, vibrant finale of Milan Fashion Week – and a reminder to let your inner child out from time to time. “I was interested in the idea of wow, the wonder you have as a kid when you try something – it’s almost like primal fashion, your first experience of fashion when you try your parents’ clothes,” the designer said. He showed too-big jackets and one-leg pants under asymmetrical wrap skirts, and pieces like a black tank dress and khaki and navy shirtdresses with built-in wrinkles like they’d been crushed at the bottom of a trunk waiting for a game of dress-up. The details were pure fun: frogs perching at the neckline of a dress and clinging to the heels of shoes, lapels in the shape of bunnies on leather coats, a scarf top printed with giant fish. Humor was all over the spiky wigs and flower bouquets made out of leather (of course, it’s Bottega!). Blazy’s enthusiasm is perceptible and catching. This is exactly what we need in 2024.

Collage by Edward Kanarecki.
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Dada-Chic. Bally SS25

In my opinion, the silent revolution going on at Bally is the most exciting phenomenon in Milan. Simone Bellotti’s vision of the brand very smartly – and with lots of wit – references Switzerland, the homeland of Bally. On the spring-summer 2025 moodboard, he had an eclectic mix of imagery, but one portrait stood out, that of Hugo Ball, the sound-poetry author and founder of the Dada movement in 1916 Zürich. Surrounding Ball’s image were photos of rustic, oddly-shaped cowbells, rusted shoehorns, and Man Ray’s artwork The Gift – a flat iron with thumbtacks glued along its sole. What captivated Bellotti about Ball’s portrait was the striking costume: a tall cylindrical hat and a metallic cone-shaped cape, with a stiff high collar framing his face. “I like its simple precision,” Bellotti remarked. Bellotti revisited the mountain-like, sloped-shoulder silhouette throughout the collection, integrating it into the necklines of coats and blazers. In some ensembles, this shape was paired with curved lines inspired by cowbells, reinterpreted as rounded miniskirts – some of which were lifted at the front to reveal matching culottes beneath. The concept was great, but the effect looked ill-fitting most of the time. Still, there was a standout piece: a burgundy leather coat featuring a sloped collar and shoulders, with a cinched waist that flared into a poufy pannier skirt (very Prada autumn-winter 2009).

Collage by Edward Kanarecki.
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