Image Courtesy of Vogue Runway.
HODAKOVA
‘Collective Memories’ is Ellen Hodakova Larsson’s first collection since winning the LVMH Prize for Young Designers this year. The collection redefined the tradition of fox hunting by merging rural elegance merges with extraordinary outfits, and all of this in a sustainable way. All the looks are made entirely from recycled and reused materials, including the glasses and dresses made from replacement lenses in collaboration with CHIMI Eyewear.
Leather dresses and skirts were made from old boots and the woven belts highlight Hodakova’s enthusiasm for traditional craftsmanship. Adding an interesting touch were the eccentric and artistically daring looks made from partly framed paintings of Swedish landscapes, drawing a personal connection to Hodakova’s heritage. With the exception of red checked argyle sweatshirts and cardigans, the intricate construction of the garments is the central focus point due to a rather muted colour palette. Ellen’s ability to combine the avant-garde with the everyday proves that sustainable fashion doesn’t have a specific look, it can shine and glitter, just like her gold and silver zip dresses.
Photography by @danieleoberrauch. Image Courtesy of Vogue Runway.
ZOMER
Avant-garde and childishly playful – this is the third collection from the young Parisian womenswear brand zomer, which means ‘summer’ in Dutch. The floral ready-to-wear collection by design duo Danial Aitouganov and Imruh Asha is a harmonious mix of elegant, neutral-coloured and expressive pieces such as huge floral dresses in collaboration with Debeaulieu or mechanical floral sculptures by Isabel + Helen. The runway was a walk through columns printed with flowers wear bathing cap-like, and models wore frilly headpieces in purple, hot pink and azure blue paired with 70s-style skirts and balloon trousers.
Another eye-catcher is the Karhu by zomer footwear collaboration, which combines Karhus craftsmanship with zomer’s playful design approach. The many contrasts, unexpected textures and experimental silhouettes convey a positive attitude to life with humour and joy and challenge traditional fashion boundaries, keeping it locked in with the brand’s philosophy: boldness, rebellion and sophistication.
Image Courtesy of Acne Studios.
ACNE STUDIOS
The Acne Studios Spring/Summer 2025 collection, inspired by an installation by Philadelphia-based artist Jonathan Lyndon Chase, is a successful symbiosis of art and fashion that brings Chase’s exploration of identity, body and intimacy to the catwalk – the familiar becomes surreal. Acne Studios co-founder and creative director Jonny Johansson transformed home textiles into distorted, oversized silhouettes. Evening dresses appear hastily thrown on and incomplete, as if the garment had been frozen at the moment of creation. The looks play with almost alien-like dimensions and shapes, with highly asymmetrical cuts, layering and experimental draping that wrap around the body like curtains, creating a sculptural form. Soft lambskin leather takes on a denim look; jeans are almost balloon-shaped at the hips. Suits look stiff and crumpled, hand-crocheted knitwear is reminiscent of doilies, oversized and decorated with crystals.
The show at L’Observatoire de Paris is accompanied by an installation by Jonathan Lyndon Chase. A backdrop of reimagined household objects such as lamps and washbasins reinforce the contrast between domestic familiarity and unsettling strangeness. The accessories also pick up on this approach: oversized necklaces and massive rings lend the collection a touch of opulence and richness, while crocheted ballerinas, floral heels and the new ‘Camero’ handbag in the style of an old camera bag emphasise the playful side of the collection.
Photography by @filippofior. Image Courtesy of Vogue Runway.
VAQUERA
For the 10th anniversary of the American label Vaquera, the 35 looks by designer duo Patric DiCaprio and Bryan Taubensee once again showcased the brands’ uncompromising avant-garde aesthetic, but this time with a focus on everyday wearability. At least in terms of Patric and Bryans definition of basic. Despite the use of typical striped shirts, strapless bras and denim, the brands’ futuristic, punk flair is maintained through the extravagant silhouettes, layering and different patterns.
Caps with activist pins, puffball skirts made of satin fabric in a tutu look, gold-on-black chain prints paired with silver sneakers from Japanese brand Onitsuka Tiger – it all evokes a sense of rebellion. Sport jersey tops adorned with words such as Fame, Love, Truth and Emotion practically scream social criticism and allude to the designers’ disappointment with fashion’s declining commitment to free creativity. Vaqueras’ anniversary collection is a collection of new beginnings, as the brand presented its first shoe collection, consisting of black leather boots and kitten-heeled pumps, as well as its first jewellery pieces in collaboration with D’heygere.
Image Courtesy of GANNI.
GANNI
The collection titled ‘The Craft’ probably describes the process of growing up because that’s what the GANNI Spring Summer 2025 show eluding to. The GANNI Girl has become a confident, bold woman and has been given a new futuristic look by Ditte Reffstrup and Nicolaj Reffstrup in collaboration with Copenhagen-based designer Nicklas Skovgaard and Claire Sullivan from NewYork, without leaving out the typical GANNI features such as frill details and delicate flowers. Corset details are everywhere, for example on oversized new versions of the ‘Box Bag’ shoulder bags with hand-woven straps, boxer boots and the signature GANNI flats.
In the show location at Galerie Haute in the Palais de Tokyo a game of opposites truly took place: Transparent pastel-coloured organza fabric meets chocolate brown leather and leopard prints. Masculinity merges with femininity and practical all-black looks contrast with romantic puffball dresses, playful layering and cheerful colours such as seaweed green, sky blue and light pink. Deconstructed baseball jerseys made from Cycora jersey with the print ‘Fabric of the future’, named after GANNI’s eponymous initiative emphasise GANNI’s commitment to a more responsible and sustainable future. Retro trainers made from SimplifyberTM were also presented for the first time in the new collection.
Image Courtesy of LOEWE.
LOEWE
LOEWE‘s spring/summer 2025 collection presents itself in radical simplicity – all that remains is the curved silhouette. Flowing, springy lines that elegantly wrap around the body, sometimes long, sometimes abruptly cropped. The cuts are reduced to curves that gently embrace the body. Unexpected combinations are encountered – floral dresses and skirts are transformed into everyday lightness with T-shirts and slim trousers. The focus on construction techniques reveals extraordinary surfaces – delicate silk with impressionist floral patterns, feathers with paintings by artists such as Van Gogh or Monet, as well as camouflage patterns, sequins on knitwear and butter-soft nappa leather characterise the collection.
Newly introduced is the trapezoidal ‘Madrid’ bag, named after LOEWE’s home city, is presented as a new highlight. The show concludes with a white Johann Sebastian Bach T-shirt trimmed with feathers, reminiscent of concert merchandise, while the sheet music is emblazoned on the outer walls of the showroom. In the end, only the essence remains – a silent melody. A small bronze sculpture by Tracey Emin is quietly enthroned above it all: a bird that embodies vulnerability and strength in equal measure.
Image Courtesy of Courrèges.
COURRÉGES
Outfit repeating is absolutely not a bad thing. Art director Nicolas Di Felices illustrates this with the Courrèges SS25 collection, which was once again presented in the white cube room of Le Carreau du Temple, this time centred around an installation by Finnish artist duo Grönlund-Nisunen, who created the sound of crashing waves with hundreds of small metal balls rolling around. The hem of the jersey dresses mimicked the rippling of the sea to match.
The opening look, a cocoon-like hooded leather coat inspired by a Courrèges haute couture cape from 1962, honoured the futuristic ‘Courrèges style’ of André Courrèges. Other looks were characterised by sleek minimalism, colour monochromaticity and symmetrical shapes, such as the famous ‘magic square’ mesh top. Dresses with front pockets, midriff-baring necklines, open backs and leggings that reach over the heel, emphasised by the contrast between hard leather and transparent fabrics. The newly interpreted ‘Holy Bags’ appear like jellyfish due to the attention to detail by applying small feather tails – in the spirit of marine ambiguity.
Image Courtesy of Valentino.
VALENTINO
After almost eight years as creative director at Gucci, Alessandro Michele made his big Valentino runway debut with the opulent SS25 collection. The Valentino newcomer once again impressed with his signature style of excess and maximalism, in a delicate and disciplined way. With his penchant for various heady eras of history, Michele delved deep into Valentino’s archives. The result: elegant skirt suits with wrist cuffs and faux fur trims, bow details, red lace tights and black lace gloves combined with small pillbox hats, embroidered bed jackets with feathers and ruffled collars – all in the style of the 60s.
In keeping with the 70s, Michele decorated see-through chiffon dresses with Swarovski crystals, not forgetting the oversized fur coats. Ra-Ra dresses in the house’s signature scarlet colour combined with polka dot patterns and large floppy hats with dramatic patterned feathers are reminiscent of the 80s. Also typical of Michele is the eye-catching facial jewellery, be it large glittering nose percings, lower lip jewellery or even faces completely covered by lace and tulle. The catwalk in the Pavillon des Folies is a broken mirror floor, created by Italian artist Alfredo Pirri, which is surrounded by unstable pieces of furniture wrapped in white sheets. A literal representation of how Michele describes Valentinos’ rooms – full of precious and fragile things.
Image Courtesy of Schiaparelli.
SCHIAPARELLI
‘Future Vintage’ for future generations. The Schiaparelli Ready-to-Wear SS25 collection ‘Future Vintage’ is a tribute to women who inspired creative director Daniel Roseberry with their self-confident, independent style. Timeless designs with a touch of couture and surrealism are suitable for any occasion thanks to light fabrics and airy shapes. The hourglass silhouette is a recurring element in the collection, alongside other bold shapes. Tailored suits with oversized, sharply cut shoulders contrasted with softer, voluminous capes and draped bustier dresses with sculptural details.
The colour palette – black, white and metallic gold – lent the collection a futuristic boldness complemented by stripes and animal prints. The gold accents, a Schiaparelli trademark, were introduced in the form of detailed celestial bodies, oversized roses and snakes and fish motifs. In addition to Schiaparelli’s classic bags, the brand presented the new ‘Hobo Bag’; an elegant round shoulder bag in various materials, colours and sizes, suiting any occasion.
Photography by @isidore_montag. Image Courtesy of Vogue Runway.
COMME DES GARÇONS
The Comme des Garçons SS25 show “Uncertain Future” embraced an eerie, dystopian vision, fusing avant-garde tailoring with dark, deconstructed silhouettes. Rei Kawakubo explored uncertainty through exaggerated shapes – towering shoulders, cocoon-like coats, and asymmetrical, layered constructions that seemed to unravel as they moved. The color palette was somber yet striking: muted blacks and grays clashed with flashes of electric blue, acid green, and metallics. Fabrics appeared almost sculptural—heavy wool, leather, and tulle, all frayed at the edges, mirroring a world in chaos.
Some models wore fragmented headpieces, half masks resembling futuristic relics, while others draped themselves in armor-like jackets. Each look felt like a commentary on survival in an unpredictable world, with distorted proportions suggesting the weight of an unknown future. Kawakubo left us with a spark of hope in an uncertain world.