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

In Paris, Tom Ford presented its new collection as part of Fashion Week, offering a more restrained yet equally provocative take on the house’s signature aesthetic of unapologetic sensuality.

Rather than relying on obvious seduction, Haider Ackermann, the house’s designer, focused on bare skin, plunging necklines, sheer fabrics, leather and dramatic silhouettes, leaving plenty of room for the imagination. The runway brought together Tom Ford’s signature sensuality, Ackermann’s distinctive sense of decadence and an underlying sense of danger that became one of the defining moods of the show.

In his notes accompanying the collection, the designer explained that he wanted to move beyond Tom Ford’s familiar image of the seductive woman. His aim was to «move closer to danger» and explore another side of nudity.

«There is something deeply sexual about a body that reveals itself but does not offer itself», Ackermann said.

That idea became one of the central themes of the show. The presentation took place in a dark, mirrored space, where models walked in looks that balanced on the line between revealing and refined.

The runway featured plunging swimsuits, silk and leather robes, jackets worn against bare skin, sheer skirts, structured bustiers, tops made from neckties and provocative bodysuits. One of the most striking looks featured a bodysuit completely covered in rhinestones and finished with intricate draping.

The swimsuits, in particular, evoked the aesthetic of Helmut Newton’s photography from the 1990s — with the characteristic combination of strength, eroticism and cinematic drama found throughout his work.

Ackermann also retained one of his favorite signatures — a rich, saturated color palette. Classic black and white were joined by deep shades of red, green and blue, along with olive and pale blue. Rich reds stood out in particular, recalling the shades of Tom Ford lipsticks.

Another highlight was a series of long maxi skirts with trains, as well as red dresses featuring extreme cutouts, adding an extra layer of theatricality to the collection.

The menswear continued the same interplay between nudity and classic tailoring. Mini shorts were paired with sweaters, while two-piece suits either left the torso exposed or featured a tailored jacket worn with a mesh tank top.

Among the star guests at the show were Shakira, Rosie Huntington-Whiteley, Michael Jackson’s daughter Paris Jackson, Kate Moss, Cara Delevingne and Cynthia Erivo.

Photo: Instagram @upwithoscar_, @f_ed, @maxmirmir

Another chapter in the history of Saint Laurent has come to an end in Paris — at least if Anthony Vaccarello’s symbols are anything to go by. The designer presented his new collection exactly ten years after making his debut as the French house’s creative director. And his final gesture after the show only fueled speculation about a possible departure from the brand.

That evening, Saint Laurent was quite literally bathed in gold. It appeared almost everywhere — in the fabrics, textures, outerwear, tailoring, accessories and even the set design. A golden Eiffel Tower illuminated the space above the runway, while enormous chandeliers appeared to float in midair.

Vaccarello opened the show with a silhouette that has long been one of his signature codes: a slim skirt paired with a voluminous top. This time, the looks were complemented by delicate silk trains that moved with the models, adding a theatrical quality to the silhouettes.

Then gold completely took over the runway. Metallic trench coats and jackets resembled crumpled foil, while sharp skirts and Bermuda shorts were paired with brocade, jacquard, embroidery and fringe.

Even pieces and accessories that would normally remain secondary details of a look were rendered in gold — including crop tops, pointed-toe pumps and oversized earrings with the appearance of cast metal.

Color also found its place in the collection. Lightweight chiffon scarves and turbans brought movement to the looks and recalled Saint Laurent’s love of bold yet dramatic accents.

The entire collection seemed to revolve around the idea of a golden age. This felt particularly symbolic given that Yves Saint Laurent himself frequently turned to gold throughout his work.

Yet the finale abruptly shifted the mood. After the golden spectacle, total-black looks emerged on the runway. Enormous, multilayered chiffon dresses almost enveloped the models, while velvet suits added depth and drama to the collection.

With these black looks, Vaccarello seemed to draw a line under the story he had been telling throughout the show.

After the final walk by the models and designers, Vaccarello came out for his bow. But it was precisely then that a gesture took place that prompted the fashion industry to speculate about a possible farewell.

Vaccarello symbolically handed the keys to the House to his son.

 

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The designer has yet to make any official statement about his departure. For now, therefore, any suggestion that his time at Saint Laurent is coming to an end remains speculation.

Photo: Instagram @ysl_obsessed

The first day of Paris Fashion Week came to a close with one of the season’s most unconventional shows. Matières Fécales presented its Spring/Summer 2027 collection at Place de la République — surrounding the monumental statue of Marianne. Pregnant models, Gothic looks and figures with an eerie, surreal aesthetic appeared on the runway, while the finale turned into a large-scale performance featuring models carrying life-size figures of billionaires on their shoulders.

The location was chosen deliberately: Place de la République is traditionally a gathering point in Paris for protests, public demonstrations and major celebrations. The designers therefore used the space as an extension of their statement about society, inequality, migration and diversity.

The collection was titled «The Ninety Nine Percent» — «99 Percent». Ninety-nine models took part in the show, while the concept continued the designers’ criticism of the extreme concentration of wealth and power in the hands of the richest one percent.

The final chapter of the show, «Gods», proved to be the most spectacular. Two models in radically different looks — one in an immaculate white suit, the other in a gold-toned gown with a long train — literally carried realistic figures depicting billionaires on their shoulders, transforming the runway into a political performance.

Matières Fécales has long been known for its radical shows, in which fashion blurs the boundaries between performance, theatre and horror.

The runway initially featured voluminous dresses and monochrome ensembles before the show shifted into a punk episode: models walked out in ripped dresses, bomber jackets, thigh-high boots, bleached jeans and other provocative looks.

Diversity was another central focus of the show. Pregnant women were among the models, while the overall casting represented a wide range of appearances and body types. In this way, the designers continued their idea of the «99 percent» — the vast majority of people whose stories often remain overlooked by the world of high fashion.

For the final section, Matières Fécales returned to the aesthetic that first brought the label international recognition. Gothic elements met a fantastical, almost dreamlike atmosphere.

To the music of Nina Simone, true divas walked the runway wearing hats with exaggerated silhouettes inspired by the cultures of West Africa.

The designers played with contrasts: pristine white gave way to vivid colors, lace was paired with embroidery, and feathers became one of the collection’s key decorative elements.

Photo: harpersbazaar.fr

Roberto Cavalli presented its Spring/Summer 2027 collection as part of Milan Fashion Week, returning to the aesthetic that once made the Italian house one of the defining symbols of bold glamour. Creative Director Fausto Puglisi looked to the brand’s archives and the 2000s, when leopard print, sparkle and unabashed luxury were an inseparable part of the fashion image.

The collection is titled «House of Prints». Animal prints dominated the runway, quite literally taking over everything from tops and tunics to evening dresses. Even the footwear was adorned with distinctive «wild» patterns.

The models walked down a mirrored runway with casually teased hair and looks turned all the way up to glamour. Rather than simply recreating the house’s archival codes, Puglisi blended them with a vibrant color palette and contemporary silhouettes. The prints were paired with saturated hues, while lightweight slip dresses and fluid tunics brought movement and sensuality to the looks.

Jeans and capri pants emerged as particular stars of the collection. They were embellished with rhinestones, slits, appliqués and bold feathers.

The show also featured pieces that could easily become some of the season’s biggest hits. Slim trousers, minis and flared styles were generously embellished with bugle beads and feathers.

Photo: Instagram @roberto_cavalli

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

Carolina Herrera has unveiled its anniversary SS’27 collection, celebrating the history of the fashion house and its signature 1980s aesthetic.

The show, held to mark the American fashion house’s 45th anniversary, took place at the David Koch Theater, where the runway was surrounded by 28,798 yellow tulips.

Creative director Wes Gordon decided to return to the brand’s roots — its very first Carolina Herrera show, held in 1981. Among the key elements from that debut collection, Gordon revisited ruffles and polka dots, giving them a contemporary interpretation.

One of the collection’s most striking pieces was a dress featuring an iconic portrait of Carolina Herrera herself. The image was created by legendary American artist Andy Warhol.

The designer also drew another historical connection through a collaboration with the American magazine «The New Yorker». Together with the publication, Carolina Herrera created a white organza T-shirt and a yellow dress embellished with beads, inspired by the cover of an issue released during the week of the brand’s first show in 1981.

Gordon also tucked in some less obvious, yet deeply personal references. Gold frog-shaped brooches paid tribute to La Grenouille — the designer’s favorite restaurant.

Karlie Kloss presented the final look. The model walked the runway in an airy black ensemble featuring dramatic ruffles around the neckline.

The anniversary show also attracted a host of high-profile guests. Pamela Anderson and writer Fran Lebowitz were among those seated together in the front row.

 

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