Louis Vuitton brought Paris Fashion Week to a close, while also marking the end of the entire fashion month. For the final show, Nicolas Ghesquière chose a symbolic setting — the courtyard of the Louvre, where historic architecture met futuristic scenery. This was no coincidence: the concept of the show was conceived as a kind of journey into the future.

Futurism was one of the collection’s key sources of inspiration. It appeared in dresses defined by sharp geometric shapes and shimmering plastic details, as well as in windbreakers with high collars. Metallic fringe and transparent elements in vivid colors gave the looks the glow of cosmic light.

The SS’27 collection was built around the idea of movement. Familiar shirts and dresses were given new constructions, fastenings were shifted, silhouettes became asymmetrical, and draping created the impression of fabric in constant motion. Layered ensembles seemed almost to float in midair.

Yet Ghesquière did not overlook functionality. Grey suits, utility jackets with oversized pockets, leather and high boots were also part of the collection. These pieces seemed designed for a traveler of the future — someone for whom looking striking is just as important as being ready to hit the road.

The feminine side of the collection took on a more romantic mood. The designer turned to slip dresses, lingerie-inspired tops and ruffles. He paired ruffled skirts and tops with silk trousers, creating looks that felt light while remaining structurally complex.

Crystals became the defining accent of the final looks. They covered skirts, dresses, jackets and oversized chokers. Even the clip-in bangs were embellished with sparkling details.

Photos: russh.com, GoRunway

At Zimmermann’s show in Paris, butterflies quite literally took over the runway. Australian designer Nicky Zimmermann drew inspiration from the winged insect and transformed the motif into a variety of decorative elements — from lace appliqués to sculptural constructions on dresses, skirts and even handbags.

The show took place at the historic Le Carreau du Temple, where Zimmermann’s signature romantic aesthetic took a more experimental turn. Milky and powdery shades, delicate draping, ruffles, lace maxi and mini dresses, relaxed shirts, trousers, capes and scarves remained recognisable elements of the brand. This time, however, the designer placed greater emphasis on intricate textures and unconventional fabric treatments.

According to the designer, the collection proved technically more challenging than her previous work. The team experimented with new ways of creating movement in the fabric and combining different textures.

Butterflies became the defining motif of the season, although they were not always immediately apparent. In some looks, it took a closer look to spot tiny wings hidden among lace and decorative details.

For example, the collar of one blouse was covered in a cascade of lace butterflies, while on white jeans, appliqués ran down the side seams. Sheer ruffled dresses flowed all the way to the floor, ending in sculptural butterflies and flowers.

Another look resembled a piece of jewellery in its own right. A lace top with an open back was adorned with numerous layers of butterflies, each one shaped and sewn onto the fabric by hand.

The delicate palette of the collection was complemented by light-blue denim, along with ochre, chocolate brown and black.

The accessories were equally striking. Some handbags were completely covered in fabric from which realistic butterflies had been created. Their three-dimensional forms were so elaborate that the bags could easily have been considered standalone works of art.

The collection’s title — «Kaleidoscope» — was no coincidence. It refers both to the constant transformation of colours and shapes and to themes of fleeting moments, fragility, quiet strength and the ever-changing nature of the natural world. Alongside butterflies, the collection’s moodboard also featured 19th-century scientific illustrations by Harriet and Helena Scott, work by directors Gillian Armstrong and Kim Gyngell, as well as the art of Lara Merrett.

The show attracted a host of star guests in the front row, including Naomi Watts, Jessica Alba, Uma Thurman, Sarah Snook and Karen Elson.

Photo: 5elevenmag.com

McQueen has returned to London Fashion Week, presenting a new collection in the city for the first time in more than two decades. The show took place in the underground vaults of the 17th-century Lincoln’s Inn chapel, where Creative Director Seán McGirr transformed the runway into the setting for a dark, theatrical tale.

The designer combined Gothic aesthetics with the atmosphere of underground rave culture. One of his key sources of inspiration was Piero della Francesca’s painting «The Baptism of Christ».

In the new collection, the designer plays with contrasts. Sheer dresses with long, voluminous trains are paired with metallic jackets decorated with floral motifs, while silk shirts are styled with geometrically cut jackets.

The color palette ranges from rich burgundy and black to platinum and white.

The details are equally striking. Models walked the runway with unusual sculptural hairstyles reminiscent of horns, as well as short, silvery haircuts. Oversized earrings evoked everything from leaves to drops of blood.

The idea of architectural construction also plays an important role in the collection, expressed through sculptural silhouettes, sharp-shouldered jackets with defined waists, corsets and oversized structures around the hips. The designer deliberately contrasted the precision of tailoring with satin, lace and sheer fabrics.

Metallic embroidery, crystals and three-dimensional floral appliqués evoke stone carving. As a result, the dresses and jackets appear almost sculptural.

Full skirts, feathers and intricate draping added even more drama and Gothic intensity to the looks.

Photo: Instagram @alexandermcqueen

New York Fashion Week came to a close with Thom Browne’s show, which this time invited guests to literally step into a fantastical world of insects. Presented at the cultural center The Shed, the Spring/Summer collection opened with a giant pupa wrapped in green tendrils and ended with the appearance of a brightly colored butterfly.

Between these two striking images, a true entomological fantasy unfolded, while Thom Browne’s unmistakable signature remained firmly in place. His renowned, impeccable tailoring became the foundation for a new interpretation of the insect world: bumblebees appeared on tweed, dragonflies were woven into checked patterns, and patchwork constructions evoked the shells of beetles.

The runway itself was transformed into a path covered in artificial grass, creating the impression that the models had stepped into the middle of a vast garden. Insects had literally «settled» onto the clothes — perched on the shoulders of structured tweed jackets, coats and suits.

One of the jackets featured an embroidered bee that appeared to be drinking nectar from a daisy. Dragonflies appeared on a checked coat, while some silhouettes were designed to resemble cocoons. Even the footwear followed the playful concept — models were seen wearing shoes shaped like cartoon-style ladybugs.

The theme continued through the beauty looks. Models wore hats with shortened brims and veils.

The concept behind the collection was connected to the world of Pixar. The designer named the animated film «A Bug’s Life» as his source of inspiration, explaining the abundance of butterflies, bees, caterpillars and other tiny characters that appeared throughout the show.

This contrast became the defining feature of the presentation: serious, precise tailoring met the boundless imagination of a child’s fantasy world.

Photo: Instagram @thombrowne