ss25

SS25 Haute Couture Week Final Thoughts

Marine fantasies from two visionary designers


As SS25 Paris Haute Couture Week unfolds, we dive into a realm where fashion transcends reality, offering a glimpse into the fantastical and unattainable. Haute couture is not just about garments—it’s a space for dreams and artistic expression at its peak. By the way, it’s about true luxury for a few.

Whether drawing from mythological fantasies or embodying a designer’s essence, haute couture captivates with its artistry. Among the collections that resonated with us were the mesmerizing creations of Jean Paul Gaultier and Yuima Nakazato—each echoing the enchantment of marine life in their own distinctive ways.

SS25 Haute Couture – Jean Paul Gaultier: nautical fantasies reimagined


We were captivated by Naufrage, the sea-inspired collection by Ludovic de Saint Sernin, this season’s guest designer for Jean Paul Gaultier. From shipwrecked mermaids to daring sailors, pirates and majestic sailing ships, the show was an ode to the nautical themes so deeply embedded in Gaultier’s DNA. Corsetry, second-skin gowns, and audacious tailoring wove a seamless narrative, staying true to the house’s heritage while offering a fresh, contemporary twist.

This was so much Gaultier—bold, imaginative, and beautifully executed. The brand’s iconic codes were reinterpreted with a modern edge, proving that reinvention doesn’t mean losing identity but rather refining it with artistry.


Yuima Nakazato: ethereal nomads in a dreamlike desert


A dim light. A barren desert at the center of the stage. The distant sound of waves. Models moving in slow motion, as if suspended in time. The Japanese Yuima Nakazato transported us to a world where tradition and futurism merged effortlessly. His garments, a fusion of ethnic beauty and modern innovation, carried an almost sacred quality. The craftsmanship was exquisite, with accessories that perfectly complemented the ethereal silhouettes. The overall effect was mesmerizing—like watching a noble tribe with luminous souls making their way through the vastness of a quiet, moonlit night.


Valentino through the eyes of Alessandro Michele—Valentino?


Alessandro Michele’s first haute couture collection for Valentino left us wondering: do we still need designers who are actually capable of doing their job? Apparently, not anymore. 

A black backdrop illuminated by LED lights. Exaggerated silhouettes. Two details we appreciated: the graceful presence of models of all ages, including middle-aged and beyond; and the focus on individual pieces. And yet…

What we saw wasn’t couture but costume. The collection felt like a direct extension of Michele’s Gucci era, repurposing his own aesthetic that, while impactful, didn’t translate into the world of Valentino. The essence of Valentino’s haute couture— gowns for a few lucky ones —was missing as most pieces were unwearable.

We couldn’t help but wonder: why doesn’t he launch his own brand instead? And above all, how is Mr. Valentino doing after seeing this show?

SS25 Haute Couture Week endnotes


In conclusion, as the SS25 Paris Haute Couture Week comes to a close, we are once again caught in the whirlwind of musical chairs—who exits, who enters, and what it all means. The relentless cycle of change seems to overshadow the very notion of timelessness, while the designer’s ego increasingly takes centre stage, shaping the narrative more than the heritage itself.


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Ujoh SS25 Paris Fashion Week Runway Show

Modern tailoring and lightness in the face of extreme weather


Today, we are excited to share the Ujoh runway show from the SS25 Paris Fashion Week. Ujoh is our new-in from Japan this Fall/Winter season. In fact, we have just received some amazing garments that we can’t wait to share. 

For Spring/Summer 2025, presented at the Paris Fashion Week, UJOH reshapes tailoring by focusing on structure and lightness through the cutting. And so, utilising signature techniques specific to the brand, the collection merges sleek design with effortless comfort, making it ideal for navigating a changing climate.

Indeed, the extreme weather in Japan is the inspiration for the SS25 collection, which addresses the need for adaptable fashion in a warming world. Designer Mitsuru and Aco Nishizaki explored how their unique pattern-making could evolve to meet the demands of higher temperatures. And it results in layered silhouettes that marry style with practicality. So, the collection showcases innovative, tailored looks incorporating breezy elements, offering wearers both sophistication and function.

SS25 Paris Fashion Week: Ujoh

Ujoh SS25 Paris Fahion Week


This season’s iconic items include cut-off jackets shaped to fit the body’s lines, straight-cut jackets, wide-legged trousers and skirts with deep slits that allow for and create movement. Specifically, asymmetry played a key role in the collection, with restructured sleeve-ties from shirts. All complemented by scarves that could be styled over or under layers for an effortlessly unique touch. Standout pieces included satin garments treated with the traditional Japanese Shibori tie-dye technique, creating creased patterns reminiscent of petrol spills on wet asphalt. Geometric swirl prints added another layer of visual appeal. These garments highlight the idea of reconstruction by adding elements to the spaces created through subtraction in the cutting process.

Textiles:
Matte organza, washed organza tailored inside out, and washed satin with shibori tie-dye treatment. 

Key colours:
Pinstripes in the brand’s signature shades of sand beige and slate grey. Along with bright colours such as leaf green, lilac, sky blue and terracotta, representing a positive mindset.

According to UJOH, modern tailoring is a balance between sharp craftsmanship and functionality, with a strong emphasis on pattern-making that defines the collection’s approach.

Ultimately, Ujoh’s SS25 collection from Paris Fashion Week offered an imaginative, well-considered response to the challenges of dressing for a warming world. But it stayed true to the brand’s sophisticated yet daring aesthetic.


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

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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MFW SS25: Educating Toward Individuality and the Freedom to Choose

Challenging algorithmic conformity in a mass-market world


In a fashion landscape dominated by massification, how do people reclaim individuality and the freedom to choose? Is it even possible to cultivate such awareness in a world shaped by algorithms? In a world populated by lookalike, cookie-cutter figures that have no sense of personality?

Milan Fashion Week is underway. And Prada’s Spring-Summer 25 collection sought to address these questions, focusing its narrative on individuality and the power of choice. (Watch the show here).

Although we keep an eye on the Milano Fashion Week, our stance remains critical of the major brands and the fashion industry as a whole. While we believe in the need for change, the industry continues to mire itself in its status quo, seemingly unable – or unwilling – to break free from its current stagnation.

MFW SS25: Prada – fashion & algorithms


“We are submerged by images, and people are facing everything,” explained Miuccia Prada. “We are directed by algorithms. Anything we like, everything we know, it’s because other people are distilling it into us.” 

Is there an overdose of communication and flatness? Absolutely, yes! So, the collection was a deliberate disruption of uniformity: frizzy hair, chaotic outfits, and bold colour combinations came together in a visual challenge to the algorithmic flatness that saturates our screens. Yet, it’s somewhat ironic for brands to rail against algorithms when, without this digital magic, their global business operations might falter.

But let’s focus on the more inspiring message here: a call to educate people towards individuality and reclaim the freedom to choose. This theme resonates deeply with us and aligns with our own commitment to meaningful fashion. A field rooted in timeless design and superior quality, far removed from the disposable nature of fast fashion. Also far away from luxury brands that have no trace of luxury.

Now, can we recover a world of emotions, uniqueness, and true beauty? It starts by embracing authenticity, valuing human imperfections, and moving away from mass-produced conformity. By celebrating individual creativity and encouraging personal expression, we foster a world that honors the depth of emotions and the beauty found in diversity. This recovery involves slowing down, appreciating craftsmanship, and reconnecting with the meaningful aspects of life that make each of us unique. Will this message spread?

Conclusion


In short, the concept of Prada’s show struck a chord. So it prompted us to share it with you in the hope that more will join the movement toward rejecting algorithmic influence and its cookie-cutter masses. In favour of seeking out individuality, quality, and good design.

But can a brand alone awaken such an understanding in consumers? Or will people simply buy these runway looks because of the logo behind them? Ultimately, will Prada continue to rely on algorithms to decide what’s next and promote its garments?


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