parisfashionweek

British Fashion Council pivots: June LFW moves to Paris as brands seek global spotlight

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London steps back, Paris steps up: The BFC’s gamble to relocate brands reveals fashion’s widening power gap


The British Fashion Council (BFC) pivots: it will skip June’s London Fashion Week, opting instead to showcase menswear designers in Paris during the French capital’s event. The move, framed as a ‘strategic evolution,’ underscores the growing pressure on cities beyond Paris to justify standalone runways in an era of instability, where buyers and media increasingly prioritize fewer, high-impact events.

While the BFC emphasizes the benefits—including a dedicated London Show Rooms (LSR) space in Paris for emerging designers—critics warn that ceding the June calendar risks eroding London’s reputation as a cradle of innovation. The decision reflects broader shifts: the rise of co-ed collections, budget pressures, and the gravitational pull of Paris, where even British talent now flocks for visibility.

The Paris effect


Brexit stole the show from London Fashion Week—and gifted it to Paris,” titled Politico recently. The prophecy now rings louder. Paris Fashion Week, already a magnet for global designers, offers what London struggles to guarantee: buyer density, prestige, and a direct path to commercial success.

In fact, there has always been a creative dialogue between Paris and London. But after Covid and Brexit, keeping this dialogue alive became more challenging, said Serge Carreira from the Fédération de la Haute Couture et de la Mode. “London is a scene of revelations, where one puts down creative roots, whereas Paris is a destination once the brand is established, to reach a more global audience,” declared Carreira to CNN. “This dynamic isn’t new but Paris as a next step in a British designer’s career might feel like a more amplified move.” 

The emerging designer trade-off


The BFC’s LSR initiative in Paris grants emerging designers valuable buyer access—but at what cost? London’s identity as a cradle of avant-garde experimentation is increasingly sidelined. With PFW boasting over 100 shows across nine days, and London’s calendar shrinking, the capital risks becoming a feeder system rather than a rival.

Yet signs of rebellion stir. Off-calendar British brands like Corteiz may point to a new generation that rejects the spectacle of traditional runway shows. Instead, they favour creative drops, limited-run capsules, and collaborations—questioning the fashion system itself.

This hints at an alternative future: another avant-garde is emerging, one that rejects the old system entirely.

Alternative futures


Some of the most compelling moments during London Fashion Week came not from the main stage, but from smaller, off-schedule presentations. These intimate settings—less about commercial splash, more about authentic expression—felt both innovative and grounded.

Perhaps that’s the real shift worth watching. In an age of climate anxiety and economic instability, the next generation of designers may no longer aspire to put on hyper-expensive shows filled with endless outfits. Instead, they might choose meaningful connections, slower processes, and sustainability-first design.

British Fashion Council pivots: A warning for New York?


London’s struggle mirrors NYC’s: both risk becoming satellites to Paris and Milan. If even British talent—nurtured by institutions like Central Saint Martins—flees homegrown runways, what hope remains for cities without that legacy?

Final thoughts: Business over romance


The British Fashion Council pivots. The decision to relocate June’s LFW to Paris is a business-first gamble, a bet on survival prioritising global reach over tradition. Therefore, an attempt to stay relevant in a market that increasingly rewards consolidation. The shift highlights fashion’s uneven power balance, with Paris solidifying its dominance. 

But as Paris tightens its grip, London faces an existential question: Can it remain a creative capital in a system that increasingly prioritises commerce over risk-taking?

It’s a surrender to Paris’ dominance, yes, but also a referendum on whether creativity alone can sustain a fashion capital today.

The answer may lie off-calendar—in intimate presentations, climate-conscious design, and disruptors—brands unafraid to break the mould. 

Ultimately, fashion’s future cannot be just more Paris. Fashion’s future belongs to those brave enough to imagine something else entirely.

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Ujoh FW25/26 at PFW: A small act of rebellion

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Tailoring, layering, and the pursuit of freedom


The Ujoh FW25/26 collection, unveiled at the Palais de Tokyo during Paris Fashion Week, stands as one of the season’s most compelling visions. As heritage luxury brands struggle with creative identity—often reduced to absurd headlines about creative directors—emerging designers boldly redefine the narrative, bringing fresh concepts and deeper meaning to the fashion landscape.

Paris Fashion Week: Ujoh FW25/26 fashion show


For their Fall-Winter 2025 presentation, Aco and Mitsuru Nishizaki of Ujoh drew inspiration from the formative years of Japanese youth, shaped by the ubiquitous school uniform. This collection is a homage to the ‘90s—a decade when high school students, quietly rebelling against the rigidity of established norms, began to craft their own sartorial identity. Through meticulous tailoring and innovative layering, Ujoh deconstructs these structured codes, revealing a profound sense of freedom and individuality.

In this reimagined wardrobe, silhouettes capture the stylistic defiance of the era. An oversized cardigan draped effortlessly over an asymmetric skirt challenged the rigidity of tradition. While fluid leg warmers echoed the iconic loose socks once emblematic of a generation’s quiet rebellion. These elements, both nostalgic and forward-thinking, speak to a spirit of nonconformity that continues to resonate powerfully today.

UJOH FW25/26 Paris Fashion Week – Watch the show


The collection masterfully blended structured uniformity with deconstructed details, reimagining Ujoh’s signature asymmetric tailoring. Suiting, a house staple, appeared in wool gabardine and soft brushed flannel, with cropped, tab-fronted jackets in brown, grey, and navy paired with half-skirts or shorts, accented by bursts of lime or sky blue. Hybrid collars merged classic tailoring with sailor-inspired necklines, while oversized rugby sweaters and pleated skirts echoed the spirit of schoolyard rebellion.

Nostalgic yet inventive details abounded: slouched leg warmers, glossy quilted skirts in recycled polyamide, and a delicate black floral embroidery on a bias-cut skirt—a nod to tulip bulbs given to Japanese schoolchildren. Textural depth came through in handwoven jacquards and layered faux-fur coats, while a standout black shearling aviator jacket highlighted Ujoh’s outerwear prowess.

The show closed with models casually seated on vintage classroom chairs, chatting and laughing—a moment of carefree spontaneity that perfectly captured the collection’s balance of structure and rebellion. Ujoh’s FW25/26 was a heartfelt ode to youthful defiance, blending past and present with effortless charm.

Final toughts


The Ujoh FW25/26 collection at Paris Fashion Week was more than just a display of innovative tailoring and layered silhouettes. It was a celebration of freedom and individuality. By revisiting the quiet rebellions of ‘90s Japanese youth, the designer duo crafted a narrative that feels both deeply personal and universally resonant. In a fashion landscape where heritage brands grapple with inconsistency, Ujoh stands out as a bold voice of reinvention, proving that true luxury lies in the courage to defy norms and embrace the unexpected. This collection was more than an homage to the past; it was a compelling vision for the future—one where rebellion and refinement coexist in perfect harmony.

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PFW FW25: What heritage brands teach us about identity and timelessness

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How heritage brands stay relevant without radical reinvention


As Paris Fashion Week FW25 comes to a close, we reflect on what heritage brands reveal about identity and timelessness.

One of the most striking aspects of this season was the renewed sense of identity—a quality that had been diluted in recent years, causing brands to lose what once set them apart. Now, more than ever, brands seem to require flexible, inspired approaches rather than rigid strategies or merely marketing-driven narratives.

Equally noteworthy was the restrained nature of many shows, with a noticeable reduction in unnecessary excess. While this could suggest a shift towards more mindful practices, it reflects financial caution in uncertain times rather than a commitment to sustainability. Indeed, sustainability appeared to have lost its place as a key marketing tool.

Heritage brands: Let’s talk style, not just designers


Chanel remained unmistakably Chanel, proving that heritage brands can thrive with a strong design team. Despite the absence of a creative director, the collection was impeccably conceived, weaving in the signature themes so dear to Madame Coco. (Watch the show here). For heritage houses, perhaps the real question is: should the focus be on the designer at the helm, or on the enduring style and craftsmanship?
That said, it will be interesting to see what Mathieu Blazy’s vision brings next spring.

Miu Miu, on the other hand, was quintessentially Miuccia. Feminine yet subversive, the collection channelled 1950s elegance with a rebellious edge—pointed bras, handbags carried in the crook of the arm, vintage-inspired accessories, and bold gold jewellery pieces. What could be more authentic than Miuccia Prada staying true to her vision for Miu Miu? Feminine, chic, and unmistakably hers—a strong, clear signature. (Watch the show here). However, we want to believe the furs are faux.

Final thoughts


In conclusion, heritage brands have shown that timelessness is not about radical reinvention but about staying true to a distinct identity. Chanel demonstrated that strong design can uphold a brand’s legacy, even without a star creative director, while Miu Miu reaffirmed the power of a designer with a clear, unwavering vision.

Perhaps this season signals a shift—not towards relentless reinvention, but towards refinement, consistency, and a deeper understanding of what makes a brand unique. In a landscape often dominated by marketing gimmicks, fashion may be rediscovering the value of authenticity.

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Who Said Women in Men’s Clothes Aren’t Feminine?

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Saint Laurent SS25 Paris fashion show: style, gender, patriarchy and feminism


Who said women in men’s clothes aren’t feminine? We find it puzzling that there remains one dominant, traditional, patriarchal, and commercial idea of how women should look. Despite designers over the years presenting broader visions, one specific image continues to dominate.

Yesterday, we had the chance to view the Spring-Summer 25 Saint Laurent fashion show at Paris Fashion Week (watch it here). With a certain pleasure, we noticed how, unlike former designers who removed Yves from the brand name, Anthony Vaccarello revisited the original designer and creator of the brand. Specifically, he brought Mr. Yves Saint Laurent back onto the runway. So, elongated, refined figures walked down the runway in oversized suits that evoked the iconic designer himself. And it was remarkable.

This collection challenged the rigid idea of femininity that women themselves often can’t escape. So we ask again: who said women in men’s clothes aren’t feminine? It’s precisely the opposite – and it’s nothing new.

Yves Saint Laurent – 1967: the first pantsuit


“A year after the tuxedo, Yves Saint Laurent proposed his first pantsuit in his Spring-Summer 1967 collection. It was an unusual design for a suit, which was traditionally worn with a skirt. Just as he did for the tuxedo, Saint Laurent adapted the traditionally masculine suit for the female body. The sleeves were fitted and the waist belted, while the wide pants were flattering for the legs. He added typically female accessories, such as heels and jewelry, but still had his model wear a necktie and felt hat.” (source)

Fast-forward to 2025: Anthony Vaccarello pays homage to the original vision of Mr. Saint Laurent, reviving a look that challenged gender norms in its time and still does today.

In fact, this concept expresses a powerful challenge to traditional notions of gender in fashion. It demonstrates that femininity is not defined by wearing clothes traditionally associated with women. A woman can embody femininity while wearing what is considered “masculine” garments – and look incredibly refined doing so.

This shift reflects a broader cultural movement. Designers, fashion icons, and feminists have long argued that fashion should not be confined by gender. Figures like Coco Chanel, who popularised trousers for women, and Yves Saint Laurent, who introduced the women’s tuxedo (Le Smoking), played pivotal roles in reshaping this narrative.

What happened next?


So, from a cultural perspective, what happened after Chanel? What happened after Yves Saint Laurent? And what happened to feminism? If designers like Saint Laurent showed us that femininity transcends garments, why does contemporary feminism seem to lean more toward the image of Marilyn Monroe rather than the elegance of Saint Laurent? Why has this nuanced view of style and gender been overshadowed by more commercialised, sexualized aesthetics?


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Hints of Sustainability at PFW

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Are these sustainability efforts credible?


On the last days of Paris Fashion Week Fall/Winter 24-25, hints of sustainability emerged. Yet, amidst these hopeful murmurs, recent revelations cast a shadow of doubt over the industry’s commitment to genuine change.

Stella McCartney’s fashion show opened with a call to action to save the planet. In the video, Mother Nature sends a message to humanity: “It’s About Fucking Time.” Perhaps gentle words are no longer sufficient to spur the necessary transformation. Indeed, the stark reality of increased pollution rates this year tempers our optimism.

Apparently, Stella McCartney, an environmental activist, operates through sustainable practices. In fact, the media present her as one of the brands more involved in the discussion around sustainability.

However, reports from Business of Fashion unveil staggering figures of unsold inventory weighing heavily on these conglomerates. We quote B.O.F.: “LVMH and Kering are grappling with billions of dollars of unsold inventory.”

Analysing sustainability hints and related news


Now, let’s compare the two pieces of news in an attempt to understand more about sustainability. In this juxtaposition, a disconcerting dissonance emerges.

LVMH and Kering are the largest conglomerates in the fashion industry. LVMH owns Louis Vuitton, Givenchy, Dior, Fendi, Celine, Kenzo and many more. Kering owns Gucci, Balenciaga, Bottega Veneta, McQueen, Saint Laurent, and more.
Despite both groups having billions of dollars of unsold inventory, they have made countless new samples for the fashion weeks. No one tried to create beautiful presentations with fewer garments. Moreover, they are ready to churn out tons of new clothes and accessories for the Fall/Winter 24-25 season.

In 2019, Stella McCartney signed a deal with LVMH group to accelerate its worldwide development in terms of business and strategy. Before, the designer partnered with the rival conglomerate Kering. So, McCartney stands at the intersection of conflicting narratives.

Can a designer embedded within a behemoth corporation, driven by perpetual growth and overproduction, truly champion sustainability? Stella McCartney’s game recalls the manoeuvres politicians play. Perhaps sustainability in fashion remains a game of optics, a veneer to placate conscientious consumers.

Conclusion: unanswered questions


The hints of sustainability that emerged at Paris Fashion Week appear diluted, if not altogether illusory. The sobering reality of overproduction and the unsolved dilemma of excess inventory force us to confront uncomfortable truths about the industry’s commitment to change.

In conclusion, lingering questions remain with us: What fate awaits the mountains of unsold garments? Will they be incinerated, shipped off to distant shores, or left to languish in forgotten warehouses? And can we truly place our trust in designers who navigate the corridors of power within colossal conglomerates?

The answers to these questions may hold the key to unlocking a more sustainable future for fashion. One grounded not in superficial gestures but in substantive action and genuine accountability.

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