Paris Fashion Week S/S 2025

What Rick presented this season will go to the house history books as one of the most memorable moments of his brand. Resembling a procession more than a runway, those who walked the usual floor of the Palais de Tokyo were not mere models but Rick’s personal army. This season was full of meaning, and every little detail told a part of the story of the man who is behind everything. With the title Hollywood, which at first sight can seem vain or unfitting to the overall appearance of the collection—just by the connotations our brain has for everything that proceeds from the movieland—in reality conveys and reminisces about one of the most important places in Rick's life, the streets where he found himself, his freedom, and his courage. 

Only ten looks were presented, but multiply that by twenty and you’ll understand why two hundred people walked one after the other, or better, one next to the other. Each look was worn by twenty different models, models that are not only the usual ones on Rick’s casting but also fashion students selected after an open call, giving the opportunity to the ones who always watch from the outside to be part of his world firsthand, a motivation and kick every young fashion enthusiast in the world needs. With this, the look that apparently is the same for everyone transforms depending on who is wearing it; there are not two bodies that are the same, and there are not two garments that look the same on them. An interesting exercise not only for the audience and industry to witness the wide range of options diversity brings to fashion but also to Rick himself, who understood better the challenge of making clothes that fit everyone. 

The multitude was not only there for impact or attention-calling reasons; the need of belonging and feeling part of something bigger than ourselves was something Owen’s felt the need to showcase now more than ever, and that community and civilisation are as important as individuality. As for the garments, they were quintessentially Rick, minus the usual black. Entirely on the light side, with all being either white, beige, or cream, the flowy silhouettes, the draping, the wrapping pieces that hug the body and the outwear that protects it and shields it, plus the unmistakable footwear, all of it screamed Rick Owens at its finest—his most personal but also most communal side. 

With Jun Takashi expertise and vast knowledge in a wide range of forms of art, of Undercover, we always expect a show that taps into multiple disciplines, aside from fashion, creating an intricate weaving of references and details that are a delight to find the more we dig about it. This collection had a nomad air to it. In a time where one must learn to survive fast changes and fast paces, the attire Takahashi proposes is one that aligns this internal spirit with our outside appearance. For this, the wide silhouettes, the layering of thin fabrics, and the desertic colour palette, completemented by hats that easily remind us of Jun himself, are the uniforms for the new age to come.

As for the other art disciplines we mentioned at the beginning, the show was set to the mystical music of Glass Beams, a psychodelic instrumental rock band that Jun, a big melomaniac, has been obsessed with recently and that reasonably fits the vision and concept we have of Undercover. The band recorded a performance exclusively for the show and was the background for the runway, but with the iconic masks the members of the band always wear and the eyes covering lace plus the gold headpieces the models were wearing, it seemed like the band itself were part of the group of models. Thanks to the natural aspect of the fabrics, the prints on them acquired protagonism, with some ethnic ones mixing with others that looked like true paintings, which is not far from reality since Takashi himself is a very skilled painter who took the garments as canvases to portray some of his motifs and "his creatures," as he calls them. A collection presented in thirteen-ish minutes that we could stare at for hours.

The Korean brand that has us used to impressing silhouttes with seemingly very normal, functional, and traditional fabrics such as denim and leather has reached a new high with its newest collection, where their philosophy seems to reflect on the garments to perfection. Mixing the concepts of workwear and couture, two distant sides of the same coin—the coin being the necessity to cover our bodies with pieces of fabric—Juun J.https://metalmagazine.eu/en/post/juun-dot-j-street-tailoring-arnau-salvado manages to create a tasteful and chic collection that comfortably inhabits the fine line between the elegant and pompous with the wearable and casual. 

With the very literal and telling title Workouture, silhouttes often found in the haute couture fashion week rather than the menswear one, such as mermaid shapes, enhanced shoulders with cinched waistlines, godets, and gatherings were presented in unconventional fabrics. It seems like both the materials and the silhouettes took turns in representing each, couture and workwear, with the previously mentioned details being mixed on the same look with oversize bomber jackets, t-shirts, hoodies, and work pants, and also more raw and utilitarian materials like denim, leather, and wool coexisting with sequins, lace, and netting. 

Juun J's biggest strength, the precision in the patternmaking, the tailoring, and the creation of shapes that complement the body while at the same time defying its proportions in a very aesthetic and innovative way, shines in this collection more than ever, proving the ability to handle strong and heavy materials as well as softer and more delicate ones, both sides coming with their intrinsic and unique challenges. The collection is strong, the looks memorable, and the message effective. 

The ever-intellectual Louis Gabriel once again has presented us with a collection that makes us more knowledgeable by each season. Either you get it because of your already there literary tendencies or you have to google about the book and the author to get a better understanding of the concept in front of you, but no matter what, by the end of the show you will have concepts and ideas in your head you didn't have at the beginning. For this season, the inspiration was born from the cult classic from 1985, Perfume: The Story of a Murderer by Patrick Süskind, but the cool thing about Nouchi is that not because the collection is inspired by certain elements found in literature, it becomes a costumy representation of it, but rather it adds value to his very own ideas and universe. 

The particular element of the senses and their imperative aspect in this novel is very aligned with the brand, in the way that the subtlety of them results in a soft allure and seduction that the garments translate from the hinted transparencies, the lower than usual V necks, or the silhouettes that cinch to the body not in a dramatic but in a still very flattering way. Mostly monochromatic, the colour is brought by the red looks, very on brand with the reference book. As part of the multiple collaborations Nouchi incorporated in this collection, the last looks were made with a specific fabric made in collaboration with visual artist Sasha Ferré, where the jacquard technique is used to resemble her painting style with black and red abstract shapes that create an intense effect perfectly encapsulating the whole meaning of the collection in them.

For Satoshi Kondo this season, everything is about wind. Sometimes the seasonal aspect of the shows turns out to be an extra with collections that don't look like they could fit realistically on the respective time of the year they are made for, but this Issey Miyake collection is spring/summer excellence. With a concept that involves such technical aspects as the flow of air and its dynamic qualities, it seems like this is a perfect fit for a brand renowned for its meticulous techniques and careful study of the fabrics and its properties.

For the creation of the collection, the inspiration was born from kites, parachutes, and other aerodynamic light vehicles, although the formal aspect of them was not the only concept translated onto the garments. What happens to the fabrics when the wind impacts them—the wrinkles, the irregular pleats, the puffy shape—was also taken into account, involving them in the silhouettes—some in a straightforward way where even standing still the shape is evident, others adopting a different form when in motion. The colour palette ranges from black and white to bright colours, but all of them look equally refreshing and summery, in part thanks to the quality of the materials used, where the sustainable philosophy of the brand was put into practice with the recycled fabrics used in it. We can always trust Issey Miyake to deliver deeply thoughtful pieces with as much ethical value as functional.

We can almost assure we have a secured position on our favourite collections every season for Yohji. In the same flowy and airy vein as his fellow Japanese mentioned before, this collection was also made for the hot weather and is not that we are highlighting the obvious; it really feels like one of his most summery collections, keeping the same allure and vision we are number one fans of. On this Spring/Summer 2025, we could see a wider exploration of one of the pillars of his creations, the layering, and the way the body is the key element that brings volume to the fabrics put over them. There’s not always the need to pattern extra volumes and silhouettes when you have the human body as the most important one of them all.

With a lack of press release leaving the audience and critics with the complete freedom to interpret and take the collections as they see best fit, what we take out of it is the relaxed and laid-back spirit behind this season's creations. With the usual dark colour palette where the eyes all focus on the interesting and very aesthetic black and white doodles and drawings we wish we knew more about, the volumes and the structures are pushed aside, and the fabrics and the way they fall in the body take the centre stage. The usual deconstruction, the random tuck-ins, the length difference—the avantgarde spirit we usually associate with heavy clothes and with winter and coldness—is proven to be equally effective in lighter looks, and the essence of it remains as present as always. For Yohji, there's no need to search for words to describe his creations, and there's no need for certain weather conditions to wear them; the taste can be worn 365 days a year.