Chic Conservatism. Saint Laurent AW25

Anthony Vaccarello didn’t open Paris Fashion Week, because he was at the Oscars with the cast of “Emilia Perez”. So this time he closed the week with a Saint Laurent outing that certainly made an impression. I’m still on fence if it’s a good or bad one. His collection was all about the 1980s – and utterly surprised with its chic conservatism. Pretty much no flesh in sight. No skimpy silhouettes. No sheer business. Instead, very boxy dresses, gargantuan coats, and ball dresses (styled with leather blousons). It’s refreshing to see Vaccarello getting disciplined in terms of construction and trying out the unexpected – especially in terms of color palette, this season so exuberant and livid. But there was something certainly unsettling about the YSL woman being so obscured in her high-necks and XXL pads.

Just like Nicole Kidman’s character in Babygirl, the woman envisioned by Vaccarello feels trapped in the world she’s built. She wants to break free and explore herself, but something’s holding her back. Her husband? Family life? Career?

Nevertheless, it’s exciting to see Anthony provoke one’s mind with a collection that isn’t obvious (and definitely not easy to copy for the high-street brands).

ED’s SELECTION:

SAINT LAURENT Salome Satin Wedge Sandals


SAINT LAURENT Resin Bracelet


SAINT LAURENT Gold-tone, Resin, Faux Pearl And Crystal Clip Earrings


SAINT LAURENT Smocked Ruffled Silk-crepon Blouse


SAINT LAURENT Jersey Midi Skirt

Collage by Edward Kanarecki.
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Femininity is Fun. Miu Miu AW25

Miu Miu was delicious. Delightful! This season, Miuccia Prada mused about the accessories of femininity – bras, furs, brooches. Are they relevant today? Do they lift up? At her reductionist Prada collection, she seemed to turn her back to anything superfluous. But at Miu Miu, the frivolous, younger sister, she seemed to fully indulge in all the “feminine” ornaments that in the end of the day bring utmost pleasure. With a cast consisting of Sarah Paulson and Lou Doillon, and Lotta Volkova’s phenomenal styling, the collection remixed different decades that shaped what’s affiliated as feminine today. 1920s flapper silhouettes accented with very-retro caps. 1950s knee length satin lingerie dresses (with the bra peaking out!). 1980s uptown power-looks, smoothed around the edges and completed with Deeda Blair’s hairstyle. It might sound like a lot, but the overall effect was absolutely Miu Miu. And it reminded us that fashion can be truly, truly fun to play around with.

ED’s SELECTION:

Miu Miu Short-Sleeve Cashmere Sweater


Miu Miu Intarsia Logo Cashmere Briefs


Miu Miu Leather Lace-Up Moccasins


Miu Miu Shearling Collar Oversized Jacket


Miu Miu Rose Print Knee Skirt

Collage by Edward Kanarecki.
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Femme. Chloé AW25

Oh to be a Chloé girl in the Chloé world. Undone hair and blushing, au naturel. In her floor-sweeping silk skirt (she doesn’t care whether it gets wet in a Parisian puddle) and embroidered, satin jacket that looks like an antique find at Paul Bert Serpette. Chemena Kamali envisions her woman (or rather an eternal girl) through a nostalgia-tinged lens, frivolously mixing various Chloé references across decades: Lagerfeldian dolman-sleeved blouses, McCartney’s feminine sense of fun, Philo’s Paddington bag (it’s so back). There’s also a sense of naughty decadence about that femme: the scarves with fluffy pompoms caused a stir on social media, accidentally (or not) sparking the world-old debate: to fur or not to fur? The autumn-winter 2025 had an unexpected shift: from soft-focus romantic boho girl (but done in the 2000s London it-girl way) to the shoulder-padded and miniskirted power-look of early ’80s. “In a way, a woman’s wardrobe evolves naturally over time. It’s uncurated. You buy things throughout time, you collect them, keep them, give them away, sometimes you rediscover them.” A valid point made.

ED’s SELECTION:

Chloé Luna Cutout Leather Ballet Flats


Chloé Ruffled Silk-georgette Blouse


Chloé Bracelet Embellished Textured-leather Shoulder Bag


Chloé Cropped Leopard-print Cotton-velvet Straight-leg Pants


Chloé Kick Suede And Leather-trimmed Mesh Sneakers


Chloé Oversized Belted Shearling-trimmed Leather Coat

Collage by Edward Kanarecki.
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The Ethos. Dries Van Noten AW25

Julian Klausner‘s debut runway collection for Dries Van Noten felt familiar – in a good way. It largely did feel like a Dries collection, maybe except for the tasseled jacket and evening dress near the show’s finale. The meaty, chunky knits, beautifully layered tailoring and omnipresent play with sumptuous textures made this line-up feel like an ode to the founder of the brand – and his very, very loyal clients who went through a spiritual crisis once the designer announced his departure. Klausner isn’t planning to erase the Dries Van Noten ethos, but prolong it. The broad-shouldered coat in transfixing cardinal purple or the stunning, fluid-like dress with a green velvet bow at the neck are the best proves for his great intentions.

ED’s SELECTION:

Dries Van Noten Paneled Metallic Crinkled-leather Sneakers


Dries Van Noten Checked Woven Maxi Dress


Dries Van Noten Double-breasted Snake-print Woven Blazer


Dries Van Noten Pleated Printed Matte-satin Midi Skirt


Dries Van Noten Gold-tone Multi-stone Cuff


Dries Van Noten Faux Shearling Shoulder Bag

Collage by Edward Kanarecki.
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To Seduce. Tom Ford AW25

Haider Ackermann’s debut collection for Tom Ford is a triumphant return to fashion this incredible designer has deserved for years (that memorable guest collection for Jean Paul Gaultier and the on-going collab with Canada Goose were proper warm-ups). The evening Ackermann presented his vision for the brand, a palpable energy was perceivable in Paris, especially in the vicinity of Place Vendôme.

Electrifying sensuality. Flirtatious elegance. Powerful sexuality. “To seduce” is how the designer summed up his collection of sublime, sublime tailoring, stinking-hot leathers and flou silhouettes. What made this collection stand out is the way Ackermann didn’t fall for any of the re-editions tropes – there were no in-your-face look-backs at Ford’s Gucci or Yves Saint Laurent days in sight – but he effortlessly stayed in Tom’s deeply sensual vocabulary, perfectly balancing it with his signature touch. The shirting is to die for, just like the silky robes and maxi-length numbers. The final look, a grey dress textured to look like alligator’s leather, was as easy to wear as a t-shirt (actually something many women used to say about Azzedine Alaïa’s dresses).

This is a seamless debut any designer dreams to have. There just wasn’t even one superfluous thing about it. And the casting was utterly hypnotizing, too. Ethan James Green and Saskia De Brauw in creamy cashmeres. Kristen McMenamy in an hourglass-shaped tuxedo. Silver foxes in razor-sharp tailoring and leather gloves. Chic heart-throbs – or maybe heart-breakers?

Oh, how we missed Haider for all these years since he departed from his namesake brand (good riddance, Anne Chapelle – read more about the way she sacked Ackermann and stole his name here). How lucky we’re he’s back for good. Fashion needed him – and some real, good sex.

Collage by Edward Kanarecki.
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