The sun was beaming over Paris when the Fashion Week for women’s fashion began autumn/winter 2025. In this light -filled setting, the luxury industry presented its innovations. This is an attempt to boost the lust of buying in 2024 and, according to the consulting company McKinsey, continues to be shaky, because forecast growth is only one to three percent annually until 2027.
But the big luxury brands hardly dared completely. Rather, they used well -tried strategies and industry -common clichés.
Fashion that is not made for everyone
After a short hype for inclusion on the catwalks, the Paris Fashion Week has long since returned to old patterns. The castings dominate size 36 – or below. The past fashion week was also no exception here. The long -established ideal of beauty in the industry remains, even with brands that have once shown more diversity.
One example is the Marine Serre label. Her collection, according to show notes, a “personal and creative turning point” showed 47 looks, inspired by the ‘femme fatales’ of the 1950s and 1980s. But the announced “powerful stature” and “emphasized waist” only translated into standardized, narrow silhouettes – a missed opportunity.
The dominance of lean body images continues to border all those who do not fit in this ideal – a sign of a luxury industry that is increasingly staging as an exclusive parallel world. While Shein leads the Ultra-Fast fashion market and second-hand for many buyers: inside has become a matter of course, luxury brands are increasingly relating to differentiation in order to justify their exclusivity.
“I wanted to create things that inspire and that can never be copied by Fast Fashion,” said Daniel Roseberry in the notes on the Schiaparelli show. The Ready-to-Wear line of the Paris House, revived in 2019 under its creative management, transfers the glamor of the skin couture into portable designs. This season, the lavish laces in the waist and the figure -hugging knitting clothes were particularly remembered.
Alaïa and Hermès: craftsmanship as a unique selling point
Luxury lives from craftsmanship and technical perfection – a quality promise that also justifies pricing policy. This became particularly clear with Alaïa. The label, which belongs to the luxury goods group Richemont, relied on draped dresses from a cast metal tube that was shaped directly on the body. Part of the manufacturing process was even documented on Instagram. Voluminous pleated skirts were equally impressive, handmade in traditional technology.
This refined combination of puristic silhouette and extraordinary craft contributes to the continued success of the brand, which has been noticeable since Pieter Mulier’s appointment as creative director 2021. The hype about his rhinestone ballerinas and net shoes in 2023 and 2024 has further reinforced Alaïa’s dynamics.
Hermès also demonstrated his masterly craftsmanship. The autumn/winter collection 2025 showed sharply cut silhouettes with accented shoulders, in accordance with the excellent business figures of 2024-the company recorded a net increase of 6.8 percent to 4.6 billion euros.
The innovative processing of leather was particularly impressive. Agneau leder parts could be newly combined with buttons or zippers, while saddle fragments merged into shorts or dresses. Hermès also announced his ambition to penetrate Haute Couture – an exclusive league that is hand -picked by the Fédération de la Haute Couture et de la Mode.
A new beginning for givenchy
The official Instagram profile of GiveCenchy now says “Givenchy by Sarah Burton”-a clear signal for the restart after the Matthew Williams era. The former Alexander McQueen designer competes in order to focus more on Hubert de Givenchy’s legacy.
Her debut showed flawless tailoring, dramatic evening gear and sexy network look-a return to the classic givenchy woman. The puristic cuts underline the precise couture craftsmanship and give the brand a new clarity after its profile has been increasingly watered down in recent years.
Coperni: Innovation as a trademark
Removing, surprising and creating an iconic moment with every show – this is the credo of Arnaud Vaillant and Sébastien Meyer, the creative duo behind Coperni, which founded the 2013 brand. This spectacular approach has already proven itself. The legendary Spray dress performance with Bella Hadid went viral and achieved a media impact value (MIV) of $ 26.3 million (around 26.51 million euros) within 48 hours-a massive sales boost for the label.
After a show in Disneyland Paris, Coperni invited the audience to the Adidas Arena this time, where around 200 gamers: inside took part in a LAN party. But the masters of the virality always keep the collection in focus. This season, the label showed numerous allusions to the Lara Croft universe and the world of hackers: inside. Cargo tights, fake tattoos, leather boots and worn out Denim. The Tamagotchi Swipe Case Bag and a collaboration with Ray-Ban and Meta remain particularly in the memory.
From Louis Vuitton to Chloé: Proven recipes of success
Louis Vuitton, the prestige brand of the LVMH Group, did not take a big risk this season and rely on her tried and tested brand. The show on the Étoile du Nord, near the Gare du Nord, presented colorful, portable travel boxes and new interpretations of iconic bestseller bags such as the Speedy. The rest remained true to the style of creative director Nicolas Ghesquière and presented a harmonious mix of eclectic references of past decades.
At Dior, also part of the LVMH portfolio, Maria Grazia Chiuri continued her examination of feminism that has been going on since 2016 and was inspired by Virginia Woolf’s Roman Orlando-the story of a figure that flows fluently between male and female identity. Her autumn/winter collection 2025 showed a wealth of white blouses, removable collars with ruffles-a modern allusion to Orlandos Renaissance collar-, Bermudas to knee-high leather boots, masculine blazer as well as a lot of transparency and lace.
A special highlight, however, was the return of the iconic “J’adore Dior” t-shirts from the era of John Galliano. Once an affordable entry into the world of luxury, his new edition could be read as a winking answer to critics: inside that Chiuri’s collections classify as too commercially. Should the rumor come true for your upcoming farewell, this would be a clever final point of your dior era.
On Thursday, Chloé invited to a gently tinted backdrop with plush, green -gray carpet – an ambience that underlined the Feminine DNA of the house. In fact, Chloé was creatively managed almost continuously, a rarity in an industry in which male creative directors dominate. For autumn/winter 2025, Chemena Kamali, who has been a creative director since the end of 2023, once again focused on the “Chloé-Frau”.
“The connection between the house, the Chloé woman and me is deeply personal,” she wrote in the show notes. By reinterpreting iconic Chloé codes-flowing silhouettes, romance and sensuality-Kamali presented a cloakroom that celebrates archetypal femininity, as it has shaped the house since it was founded in 1952.
The collection continued the lingerie aesthetics that started in spring/summer 2025, but reinforced the bohemian touch typical of Chloé. The Paddington-Bag, the legendary IT bag in 2004, was particularly particularly important, which already celebrated a comeback under Natacha Ramsay-Levi in 2019. A bestseller whose prices will now increase again on the second-hand market.
From Miu Miu to Issey Miyake: freshness and freedom
Few luxury brands manage to use fashion as an intellectual field of experimentation without losing comfort – Miu Miu is one of them. The Prada subsidiary has dominated the Lyst Index for several seasons and will probably continue to consolidate this status.
For autumn/winter 2025, Miuccia Prada and stylist Lotta Volkova played with everyday basics – cardigans, knee -length skirts, bras – to create the most authentic female silhouette. The result was looks that look as well as casual. Skirts that do not fit the cardigan, a deliberately flashing bra carrier, a coat that you carry in your hand because you are too warm, slip down socks-a refreshing realism in a era of post-truth, in which even politicians: inside.
This playful nonchalance was also reflected in Issey Miyake. A paper bag that turns into a piece of clothing was particularly striking here, a top that can be converted into a sleeve by additional buttons, or a shirt that can be carried again and again through various sleeve openings.
But young brands in particular brought a fresh wind:
- Weinsanto (founded in 2020) remains one of the most respected newcomers. Particularly striking: leather pieces with a washed-out denim look. In addition, Weinsanto was one of the few brands that cast plus-size models.
- Christopher Esber, Australian designer and Andam award winner in 2024, presented silhouettes worth desirable, which many of the guests would probably take over directly.
- Abra from Spain-known for its designs for Loewe and Jacquemus-combined striking buzz look with portable, feminine styles. Particularly popular: kitten-heels with pompons.
- Bernadette, represented for the first time in Paris, scored with taffet dresses and sparkling pieces that combined elegance and nonchalance. New in the range: shoes.
- Zomer convinced with playful, changeable looks, including knit parts from Cécile Feilchenfeldt. “Playing means creation, the familiar is reinvented,” it said in the show notes. Particularly exciting: knitted looks by Cécile Feilchenfeldt.
This article previously appeared on fashionunited.fr and was used with the help of digital tools translated.
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