パリファッションウィークSS25、これがあなたのベストビットウィメンズウェア

We’ve finally made it to the end of Paris Fashion Week, and with that the end of SS25’s bumper fashion month. Things in the French capital started off strong, with Bella Hadid ditching the rodeo and returning to the Saint Laurent catwalk after two long years in the wilderness. The week continued to pick up pace after Rick Owens returned to the Palais de Tokyo for a Hollywood sequel, Seán McGirr came back for his second McQueen catwalk, and Alessandro Michele made his big Valentino debut. Elsewhere, Cardi B came down with a serious case of curtain bangs at Mugler, a gang of supermodels lined the runway at Schiaparelli, and Willem Dafoe returned to the Pradaverse to close Miu Miu’s latest show. Click here to see all the rest of our PFW coverage, and scroll down for all the best bits you might’ve missed.

Playful, ridiculous and joyous are words that can be used to describe Swedish brand Hodakova’s SS25 collection. Made mostly from deadstock materials, rubber boots transformed into mid-length skirts, stacked belts turned into dresses and were satisfyingly woven together, and even trousers were turned upside down and turned into tops. Having won the LVMH Prize for Young Designers earlier this year, founder Ellen Hodakova Larsson isn’t afraid to experiment with components of dressing. A tapestry of hats turned into a day dress? Of course. A showstopper vest made up of sunglass lenses? Cate Blanchett will likely be a fan (if her recent Hodakova spoon top moment is anything to go by). Hodakova has nailed fun and experimental fashion that is both sustainable, and surprisingly, incredibly wearable. Coming off the back of her LVMH Prize win, there were more eyes on Larsson this season than ever before – and she certainly didn’t disappoint. 

Gold, silver, sparkles and the clinking sound of metal colliding can be expected from every Rabanne catwalk. Less expected is a £200,000 handbag, which stole the show and made headlines this SS25 season as the ‘world’s most expensive bag’. Made from 18-karat gold coins by metalworker Arthus Bertrand, the clutch was part of a trio of bags – one made from fired white ceramic, the other from blown glass – each of them based on a 1969 bag created by the late great Paco Rabanne himself. The weather in Paris this season has been notably wet – something that designer Julien Dossena took into account, covering models’ heels and handbags in clear plastic, shielding the precious Rabanne accessories from the elements. Sat front row, Cardi B’s glam squad buzzed around her, fixing her hair and makeup. “It is raining outside but we do not care, we in here nice and wet!” the rapper told Dazed. Gigi Hadid opened the show wearing a business shirt-cum-mackintosh (again, weather appropriate), setting the tone for the rest of the show: rain-ready office wear, with the occasional dazzling Rabanne mini dress sprinkled throughout. 

Olivier Rousteing’s SS25 collection for Balmain was inspired by his own, recognisable uniform: a sweeping black coat featuring dramatic shoulders, so pointed they could be used as a weapon. Pop-art style oversized images of women’s faces (one being Kylie Jenner, a constant muse of Rousteing) and nails were imprinted onto dresses and jackets, marking a significant moment for the house – its reentry into the world of beauty. Bags and heels took inspiration from perfume bottles (specifically from Les Eternals range), whilst the red-lipped artwork adorning the clothes was made from thousands of hand-embroidered, shimmering beads. It’s been 12 years since Rousteing took to the helm as creative director of Balmain, and for the first time, he described this season’s collection by explaining, “this show is me”. Undoubtedly, it was glamorous, sharp, fiercely angular and oh so French. For women that aren’t afraid to party, but others are somewhat afraid of. Despite her face being printed on the collection, Jenner wasn’t present in the frow – though Cardi B was on a roll, coming straight from Rabanne.

The setting for Issey Miyake’s SS25 show was white, bright and airy – the floor, walls and chairs were covered in the same paper that is used to create the late Japanese designer’s legendary pleats. Soundtracked by nature (water droplets, crickets chirping), head designer Satoshi Kondo connected us with the earth this season, sending models down the catwalk barefoot and showing coats made from washi sheets, traditional Japanese paper typically formed of fibres from the gampi tree, the mitsumata shrub, or the mulberry bush. Most commonly, the material is used in screens, lamps or shutters, due to its translucency. As expected, the opening looks were mostly transparent, veiling the face like ghostly figures. Oversized trenches, day dresses and jumpsuits pieced together like origami, whilst flowers decorated models’ makeupless faces and foliage sprouted from bags and crowns. It was a serene collection built on fresh, subtle tones; minty greens and powdery violets. More ferns and shrubbery were screen printed onto silky two-pieces, and the closing looks drew from the classic, Pleats Please archive. 

Buttery golden leathers, flowing mesh, sleek tailoring and summery fuschia tones were the foundations of Hermès’ SS25 show, where the French brand offered a fresh, youthful spin on ultimate luxury. The full collection – save for the bold pinks – was made up of a neutral palette, from teak to rich mahogany. Of course, the famous Kelly Bag made an appearance, as did several playful handbag styles, including a fringed clutch and shrunken variations of the classics. Creative director Nadège Vanhee, who has held the position for a decade this year, sought to bring a lightness to this season, taking activewear silhouettes and pairing them with leather jackets, crop tops and even clogs. The Hermès riding boots also made an appearance, referencing the brand’s humble equestrian beginnings. Despite a brief interruption from animal rights activists, the show was a parade of chic, utilitarian women who oozed sex appeal and composure throughout. 

The Ann Demeulemeester SS25 collection was romantic in both senses of the word: a love letter to beautiful, delicate design, whilst reminiscent of the early 19th century’s romantic poets. Featuring gentlemen’s lace cravats, waistcoats and Victorian-era tailored coats, the collection marked one year of Stefano Gallici’s reign as Creative Director – and what a way to celebrate. That said, in typical Ann Demeulemeester style, the dreamy show carried dark, brooding undertones. Hundreds of lilies lined the catwalk and 19th-century silhouettes reference a time when society was obsessed with memento mori. On the slightly less morbid side, lace-up ballet pumps made yet another catwalk appearance this season, meanwhile Arthurian silver headpieces took us back to medieval times. Booked and busy this season is new face Lux Gillespie, son of Bobby Gillespie and Katy England, who walked the show alongside Amelia Gray. Of course, the pair of them nailed the Victorian goth look.

In 2024, the thorny issue of legacy is still as contentious as ever. How should a brand continue when its founding designer no longer works for the house? In Dries Van Noten’s case, the label is forging ahead with continuity in mind, or “assessing, admiring and reinterpreting the designer’s language with fluency and lightness,” according to the show notes. Van Noten’s bold colour palette and fluid constructions were still present in this SS25 collection: the show opened with liquid coral trousers, roomy bomber jackets and exotic animal prints, which soon gave way to trench coats cinched at the waist, or left open to reveal crimson bloomers beneath. A section of damson and ruby jacquard evening wear felt feminine and mature, while more youthful notes came through in the high-cut shorts and nipple-bearing bandeau tops. “This collection, designed by the studio in Antwerp, plays out like a joyous study,” said the design team, before the show. “Cherished evocations of Dries Van Noten as both a continuation and a fresh perspective.”

It may be the spring season of Paris Fashion Week, but it was apparently Christmas at Noir Kei Ninoyima. When the label’s first look appeared on the runway, it was as if its model had been engulfed in glass baubles and lit up to be displayed as a yuletide ornament. On closer inspection, however, the dress (gown? creation?) was made up of red, cloth-covered light bulbs, accompanied by a copper jug of sorts, resting on the model’s head.

The collection, titled Dark Rose, continued in a similar vein for the opening looks, with imposing constructions made of intricate sections making their way down the runway. Elsewhere, smartly constructed suiting was deconstructed and then held together with rows of elastic braces, and more copper pots adorned models’ heads, before a bondage-coded section flipped things on its head. Harnesses were laid over red tulle dresses, parted red lips became a recurring motif, and models came bound in buckles or constricted in crimson leather. Though a section of serene, white dresses appeared to close the show, Kei Ninomiya proved that this dark rose definitely has some thorns.

Ottolinger’s Paris runway was quite the scene: a giant inflatable shark flanked one end of the runway, beached on its left side and mouth agape to reveal rows of pointed teeth (that were probably quite squishy to touch). Designers Christa Bösch and Cosima Gadient revealed to Vogue that it was actually a “symbol of fearlessness” and their show notes offered the same perspective. “Mine is a body in transit, intimately dressed in yesterday’s party and for tomorrow’s new beginnings,” they read. “A calypso in the half shell, skin still salty and stilettos full of sand, breezing between golden hour beaches and white cubes, I am the shark drifting between cities, my dorsal fin splitting the world like an oyster.”

Unlike last season’s twisted version of office wear, models emerged in neoprene leggings and sporty bikinis, ones that recalled surfing gear or a nice day out at the beach. More sporting references came through in huge visors that swamped models’ faces, while the aquatic references were communicated through tops that doubled as flotation devices, and shrugs made from scuba jersey. Elsewhere, faux-collars were fashioned on the front of tops to create the illusion of floating shirts, while the label also debuted its new ECCO.Kollektive collaboration with a selection of wedged heels and crinkled leather bags.

Though the Grand Palais is often considered the home of the Chanel runway, the French heritage brand has not shown there for four years. The decision to return to that prestigious setting for SS25 definitely meant something then – but what exactly was that? A return to the Chanel of days gone by? Of course, there’s much talk of who will take on the top job after Virgine Viard’s exit, but for now we’ll have to hold on a little bit longer while the suits make a few calls.

While we wait for their decision, the label’s creative studio presented a classic collection with all the Chanel hallmarks, to tide us over until the next creative director. There was tweed skirts sets with ruffled collars, feathered boleros in grape and rose, plus a section of printed, flowing gowns. Despite that, there was also a lot for the label’s young, Gen Z fans, too: striped, boucle playsuits added a mischievous air to proceedings, as did the diamantéd jeans and chunky, chain link accessories.

Last season, Peter Do’s sweet AW24 show paid tribute to his grandma who’d recently passed away, and this season the designer is still reckoning with his Vietnamese heritage. For SS25, Do headed to Musée Guimet in Paris, which is home to one of the most comprehensive collections of Asian art outside of Asia. Models strutted the marble floors in Do’s signature sharp tailoring, appearing before artworks in enlarged shirts that encased the body in fluid motions, and t-shirts embroidered with single flowers. The evening wear was as sultry as expected, with hazel, diaphanous gowns draped around the body, and long blazers worn with nothing underneath. A standout piece was a moss-coloured dress with scarlet accents, which looked like it had been momentarily singed to form the beautiful, flame-like bursts.

Though Abra has been making clothes for a number of years, this SS25 season was its “official” Paris Fashion Week debut. As a freelance designer, Abraham Ortuño Perez is responsible for some of the most viral shoe moments in modern fashion – just take Loewe’s balloon heels and Jacquemus’s double decker kitten heels, to name a few. For his own ready-to-wear line though, Perez has been making innovative but wearable styles for a while, and his SS25 show was a cool and confident consolidation of all that hard work and talent. Wrap dresses with pareo skirts were doused in bold prints, leather skirts were ingeniously paired with suede moto-jackets, and billowing satin sheet dresses looked both comfortable and chic. The shoes were, of course, a standout, appearing as comically oversized flip-flops, or leather shopping bags – but Perez is so much more than a footwear designer. Dresses and tops made to look like scrunched-up paper paid homage to garments from Maison Martin Margiela SS10, while Perez’s own sense of humour was telegraphed in a bootleg Cartier t-shirt that just said ‘Couture’ on its front.

For Nicholas Ghesquière, SS25 was all bringing together two seemingly disparate states. “How to reconcile two antagonists, softness and power?” he asked in this season’s show notes, laid out on seats lining the luggage-stacked runway. Before the show began, the French designer revealed in an interview with WWD that the collection was an attempt to “define architecture in fluidity, strength in airiness, and how you can evoke this powerful silhouette, but in movement.”

On the catwalk, this was translated by clashing Renaissance silhouettes – a period that Ghesquière is particularly fond of – with flowing, feminine fabrics and loud, blaring prints. The show opened with a set of jackets that looked like they’d been lifted from the 16th century, all balloon-sleeved arms and nipped in at the waist. Blazers emerged with Elizabethan ruffs sprouting from lapels, but much less restrictive than the ones you’ve seen on Tudor monarchs. Elsewhere, flowing silk robes were offset with structured shoulders, and a trio of slouchy jackets towards the end of the show featured evocative landscapes by the painter Laurent Grasso.

When designers Sébastien Meyer and Arnaud Vaillant announced earlier this year that Coperni would be heading to Disneyland Paris for its SS25 show, we did, admittedly, raise our eyebrows. Choosing to be a Disney Adult is an interesting use of your time, but when the show finally came around this Paris Fashion Week, we instantly ate our words.

Beneath the backdrop of Sleeping Beauty’s castle, things kicked off with some floral satin blazers and high-cut shorts, before organza butterflies adorned mini dresses and cardigans, and Disney graphic tees were layered beneath baby doll dresses. Elsewhere, five-finger Vibram shoes that were popular at NYFW popped up in Paris, while heels with Minnie Mouse ears also adorned models’ feet. This first section, one that was filled with the wide-eyed wonder of walking through Disneyland for the first time, was actually the opening act of three, a “celebration of youth and candidness, capturing the essence of carefree early years.”

Next up came Act Two: The Villains, whose “monochromatic, structured outfits embody disruption and growth, transforming classic villain elements into striking modern garments.” An all-black colour palette immediately swept in, as a gang of high fashion Malificents entered the catwalk, epitomised by Irina Shayk in a faux-leopard trench coat with a big villainous collar. To close, those evil queens were swapped out for Act Three: The Princess Transformation – but these weren’t your average damsels-in-distress. Rather than simply pretty princess dresses, the looks projected power and strength as well as beauty, a point hammered home when Kylie Jenner ascended the catwalk in a jet-black satin ball gown to close the show.

We’ve finally made it to the end of Paris Fashion Week, and with that the end of SS25’s bumper fashion month. Things in the French capital started off strong, with Bella Hadid ditching the rodeo and returning to the Saint Laurent catwalk after two long years in the wilderness. The week continued to pick up pace after Rick Owens returned to the Palais de Tokyo for a Hollywood sequel, Seán McGirr came back for his second McQueen catwalk, and Alessandro Michele made his big Valentino debut. Elsewhere, Cardi B came down with a serious case of curtain bangs at Mugler, a gang of supermodels lined the runway at Schiaparelli, and Willem Dafoe returned to the Pradaverse to close Miu Miu’s latest show. Click here to see all the rest of our PFW coverage, and scroll down for all the best bits you might’ve missed.

Playful, ridiculous and joyous are words that can be used to describe Swedish brand Hodakova’s SS25 collection. Made mostly from deadstock materials, rubber boots transformed into mid-length skirts, stacked belts turned into dresses and were satisfyingly woven together, and even trousers were turned upside down and turned into tops. Having won the LVMH Prize for Young Designers earlier this year, founder Ellen Hodakova Larsson isn’t afraid to experiment with components of dressing. A tapestry of hats turned into a day dress? Of course. A showstopper vest made up of sunglass lenses? Cate Blanchett will likely be a fan (if her recent Hodakova spoon top moment is anything to go by). Hodakova has nailed fun and experimental fashion that is both sustainable, and surprisingly, incredibly wearable. Coming off the back of her LVMH Prize win, there were more eyes on Larsson this season than ever before – and she certainly didn’t disappoint. 

Gold, silver, sparkles and the clinking sound of metal colliding can be expected from every Rabanne catwalk. Less expected is a £200,000 handbag, which stole the show and made headlines this SS25 season as the ‘world’s most expensive bag’. Made from 18-karat gold coins by metalworker Arthus Bertrand, the clutch was part of a trio of bags – one made from fired white ceramic, the other from blown glass – each of them based on a 1969 bag created by the late great Paco Rabanne himself. The weather in Paris this season has been notably wet – something that designer Julien Dossena took into account, covering models’ heels and handbags in clear plastic, shielding the precious Rabanne accessories from the elements. Sat front row, Cardi B’s glam squad buzzed around her, fixing her hair and makeup. “It is raining outside but we do not care, we in here nice and wet!” the rapper told Dazed. Gigi Hadid opened the show wearing a business shirt-cum-mackintosh (again, weather appropriate), setting the tone for the rest of the show: rain-ready office wear, with the occasional dazzling Rabanne mini dress sprinkled throughout. 

Olivier Rousteing’s SS25 collection for Balmain was inspired by his own, recognisable uniform: a sweeping black coat featuring dramatic shoulders, so pointed they could be used as a weapon. Pop-art style oversized images of women’s faces (one being Kylie Jenner, a constant muse of Rousteing) and nails were imprinted onto dresses and jackets, marking a significant moment for the house – its reentry into the world of beauty. Bags and heels took inspiration from perfume bottles (specifically from Les Eternals range), whilst the red-lipped artwork adorning the clothes was made from thousands of hand-embroidered, shimmering beads. It’s been 12 years since Rousteing took to the helm as creative director of Balmain, and for the first time, he described this season’s collection by explaining, “this show is me”. Undoubtedly, it was glamorous, sharp, fiercely angular and oh so French. For women that aren’t afraid to party, but others are somewhat afraid of. Despite her face being printed on the collection, Jenner wasn’t present in the frow – though Cardi B was on a roll, coming straight from Rabanne.

The setting for Issey Miyake’s SS25 show was white, bright and airy – the floor, walls and chairs were covered in the same paper that is used to create the late Japanese designer’s legendary pleats. Soundtracked by nature (water droplets, crickets chirping), head designer Satoshi Kondo connected us with the earth this season, sending models down the catwalk barefoot and showing coats made from washi sheets, traditional Japanese paper typically formed of fibres from the gampi tree, the mitsumata shrub, or the mulberry bush. Most commonly, the material is used in screens, lamps or shutters, due to its translucency. As expected, the opening looks were mostly transparent, veiling the face like ghostly figures. Oversized trenches, day dresses and jumpsuits pieced together like origami, whilst flowers decorated models’ makeupless faces and foliage sprouted from bags and crowns. It was a serene collection built on fresh, subtle tones; minty greens and powdery violets. More ferns and shrubbery were screen printed onto silky two-pieces, and the closing looks drew from the classic, Pleats Please archive. 

Buttery golden leathers, flowing mesh, sleek tailoring and summery fuschia tones were the foundations of Hermès’ SS25 show, where the French brand offered a fresh, youthful spin on ultimate luxury. The full collection – save for the bold pinks – was made up of a neutral palette, from teak to rich mahogany. Of course, the famous Kelly Bag made an appearance, as did several playful handbag styles, including a fringed clutch and shrunken variations of the classics. Creative director Nadège Vanhee, who has held the position for a decade this year, sought to bring a lightness to this season, taking activewear silhouettes and pairing them with leather jackets, crop tops and even clogs. The Hermès riding boots also made an appearance, referencing the brand’s humble equestrian beginnings. Despite a brief interruption from animal rights activists, the show was a parade of chic, utilitarian women who oozed sex appeal and composure throughout. 

The Ann Demeulemeester SS25 collection was romantic in both senses of the word: a love letter to beautiful, delicate design, whilst reminiscent of the early 19th century’s romantic poets. Featuring gentlemen’s lace cravats, waistcoats and Victorian-era tailored coats, the collection marked one year of Stefano Gallici’s reign as Creative Director – and what a way to celebrate. That said, in typical Ann Demeulemeester style, the dreamy show carried dark, brooding undertones. Hundreds of lilies lined the catwalk and 19th-century silhouettes reference a time when society was obsessed with memento mori. On the slightly less morbid side, lace-up ballet pumps made yet another catwalk appearance this season, meanwhile Arthurian silver headpieces took us back to medieval times. Booked and busy this season is new face Lux Gillespie, son of Bobby Gillespie and Katy England, who walked the show alongside Amelia Gray. Of course, the pair of them nailed the Victorian goth look.

In 2024, the thorny issue of legacy is still as contentious as ever. How should a brand continue when its founding designer no longer works for the house? In Dries Van Noten’s case, the label is forging ahead with continuity in mind, or “assessing, admiring and reinterpreting the designer’s language with fluency and lightness,” according to the show notes. Van Noten’s bold colour palette and fluid constructions were still present in this SS25 collection: the show opened with liquid coral trousers, roomy bomber jackets and exotic animal prints, which soon gave way to trench coats cinched at the waist, or left open to reveal crimson bloomers beneath. A section of damson and ruby jacquard evening wear felt feminine and mature, while more youthful notes came through in the high-cut shorts and nipple-bearing bandeau tops. “This collection, designed by the studio in Antwerp, plays out like a joyous study,” said the design team, before the show. “Cherished evocations of Dries Van Noten as both a continuation and a fresh perspective.”

It may be the spring season of Paris Fashion Week, but it was apparently Christmas at Noir Kei Ninoyima. When the label’s first look appeared on the runway, it was as if its model had been engulfed in glass baubles and lit up to be displayed as a yuletide ornament. On closer inspection, however, the dress (gown? creation?) was made up of red, cloth-covered light bulbs, accompanied by a copper jug of sorts, resting on the model’s head.

The collection, titled Dark Rose, continued in a similar vein for the opening looks, with imposing constructions made of intricate sections making their way down the runway. Elsewhere, smartly constructed suiting was deconstructed and then held together with rows of elastic braces, and more copper pots adorned models’ heads, before a bondage-coded section flipped things on its head. Harnesses were laid over red tulle dresses, parted red lips became a recurring motif, and models came bound in buckles or constricted in crimson leather. Though a section of serene, white dresses appeared to close the show, Kei Ninomiya proved that this dark rose definitely has some thorns.

Ottolinger’s Paris runway was quite the scene: a giant inflatable shark flanked one end of the runway, beached on its left side and mouth agape to reveal rows of pointed teeth (that were probably quite squishy to touch). Designers Christa Bösch and Cosima Gadient revealed to Vogue that it was actually a “symbol of fearlessness” and their show notes offered the same perspective. “Mine is a body in transit, intimately dressed in yesterday’s party and for tomorrow’s new beginnings,” they read. “A calypso in the half shell, skin still salty and stilettos full of sand, breezing between golden hour beaches and white cubes, I am the shark drifting between cities, my dorsal fin splitting the world like an oyster.”

Unlike last season’s twisted version of office wear, models emerged in neoprene leggings and sporty bikinis, ones that recalled surfing gear or a nice day out at the beach. More sporting references came through in huge visors that swamped models’ faces, while the aquatic references were communicated through tops that doubled as flotation devices, and shrugs made from scuba jersey. Elsewhere, faux-collars were fashioned on the front of tops to create the illusion of floating shirts, while the label also debuted its new ECCO.Kollektive collaboration with a selection of wedged heels and crinkled leather bags.

Though the Grand Palais is often considered the home of the Chanel runway, the French heritage brand has not shown there for four years. The decision to return to that prestigious setting for SS25 definitely meant something then – but what exactly was that? A return to the Chanel of days gone by? Of course, there’s much talk of who will take on the top job after Virgine Viard’s exit, but for now we’ll have to hold on a little bit longer while the suits make a few calls.

While we wait for their decision, the label’s creative studio presented a classic collection with all the Chanel hallmarks, to tide us over until the next creative director. There was tweed skirts sets with ruffled collars, feathered boleros in grape and rose, plus a section of printed, flowing gowns. Despite that, there was also a lot for the label’s young, Gen Z fans, too: striped, boucle playsuits added a mischievous air to proceedings, as did the diamantéd jeans and chunky, chain link accessories.

Last season, Peter Do’s sweet AW24 show paid tribute to his grandma who’d recently passed away, and this season the designer is still reckoning with his Vietnamese heritage. For SS25, Do headed to Musée Guimet in Paris, which is home to one of the most comprehensive collections of Asian art outside of Asia. Models strutted the marble floors in Do’s signature sharp tailoring, appearing before artworks in enlarged shirts that encased the body in fluid motions, and t-shirts embroidered with single flowers. The evening wear was as sultry as expected, with hazel, diaphanous gowns draped around the body, and long blazers worn with nothing underneath. A standout piece was a moss-coloured dress with scarlet accents, which looked like it had been momentarily singed to form the beautiful, flame-like bursts.

Though Abra has been making clothes for a number of years, this SS25 season was its “official” Paris Fashion Week debut. As a freelance designer, Abraham Ortuño Perez is responsible for some of the most viral shoe moments in modern fashion – just take Loewe’s balloon heels and Jacquemus’s double decker kitten heels, to name a few. For his own ready-to-wear line though, Perez has been making innovative but wearable styles for a while, and his SS25 show was a cool and confident consolidation of all that hard work and talent. Wrap dresses with pareo skirts were doused in bold prints, leather skirts were ingeniously paired with suede moto-jackets, and billowing satin sheet dresses looked both comfortable and chic. The shoes were, of course, a standout, appearing as comically oversized flip-flops, or leather shopping bags – but Perez is so much more than a footwear designer. Dresses and tops made to look like scrunched-up paper paid homage to garments from Maison Martin Margiela SS10, while Perez’s own sense of humour was telegraphed in a bootleg Cartier t-shirt that just said ‘Couture’ on its front.

For Nicholas Ghesquière, SS25 was all bringing together two seemingly disparate states. “How to reconcile two antagonists, softness and power?” he asked in this season’s show notes, laid out on seats lining the luggage-stacked runway. Before the show began, the French designer revealed in an interview with WWD that the collection was an attempt to “define architecture in fluidity, strength in airiness, and how you can evoke this powerful silhouette, but in movement.”

On the catwalk, this was translated by clashing Renaissance silhouettes – a period that Ghesquière is particularly fond of – with flowing, feminine fabrics and loud, blaring prints. The show opened with a set of jackets that looked like they’d been lifted from the 16th century, all balloon-sleeved arms and nipped in at the waist. Blazers emerged with Elizabethan ruffs sprouting from lapels, but much less restrictive than the ones you’ve seen on Tudor monarchs. Elsewhere, flowing silk robes were offset with structured shoulders, and a trio of slouchy jackets towards the end of the show featured evocative landscapes by the painter Laurent Grasso.

When designers Sébastien Meyer and Arnaud Vaillant announced earlier this year that Coperni would be heading to Disneyland Paris for its SS25 show, we did, admittedly, raise our eyebrows. Choosing to be a Disney Adult is an interesting use of your time, but when the show finally came around this Paris Fashion Week, we instantly ate our words.

Beneath the backdrop of Sleeping Beauty’s castle, things kicked off with some floral satin blazers and high-cut shorts, before organza butterflies adorned mini dresses and cardigans, and Disney graphic tees were layered beneath baby doll dresses. Elsewhere, five-finger Vibram shoes that were popular at NYFW popped up in Paris, while heels with Minnie Mouse ears also adorned models’ feet. This first section, one that was filled with the wide-eyed wonder of walking through Disneyland for the first time, was actually the opening act of three, a “celebration of youth and candidness, capturing the essence of carefree early years.”

Next up came Act Two: The Villains, whose “monochromatic, structured outfits embody disruption and growth, transforming classic villain elements into striking modern garments.” An all-black colour palette immediately swept in, as a gang of high fashion Malificents entered the catwalk, epitomised by Irina Shayk in a faux-leopard trench coat with a big villainous collar. To close, those evil queens were swapped out for Act Three: The Princess Transformation – but these weren’t your average damsels-in-distress. Rather than simply pretty princess dresses, the looks projected power and strength as well as beauty, a point hammered home when Kylie Jenner ascended the catwalk in a jet-black satin ball gown to close the show.