PFW Standouts

Miu Miu

Miu Miu’s show was always set to be AW25’s most coveted invite. But what Miuccia Prada delivered was both unexpected and arguably more compelling. The casting—both mesmerising and provocative—begged more pressing questions: in 2025, how is the standard of gender and femininity framed in WOMEN’S Fashion Week? There was an intentional unease in the details—straps slipping off shoulders, chests left deliberately exposed; disheveled hair; pointed bras positioned just slightly too high and also slightly too small; oversized shoes; blazers gaping open—all of which evoked a femininity caught in flux, not quite ready to leave the house, yet thrust forward regardless.
The 1920s references—flapper hats, drop-waist silhouettes, lace-up leather shoes, sagging stockings—hinted at another layer of subtext; a nod to an era when sexual and gender identity remained perilously clandestine. In the show notes, Miu Miu describes the collection as an exploration of ‘Methodologies of attraction, notions of tactility and sensuality, a study of form’ as illustrated in the choice of fabrics. This attention to the body was echoed not just in the silhouettes but in the tactility of fabric choices, each texture revealing an expensive fragility: draped furs, embellished socks, buttery leathers and a range of sheers clung to the body as the models marched down the runway. This season may not have delivered an instantly iconic piece like that micro-mini of 2022 or the universally sought-after knitted briefs of 2023, but it achieved something far more powerful. True art doesn’t just create objects of desire; it provokes. Miu Miu didn’t merely show more clothes—it started a conversation

Givenchy

For Sarah Burton's first collection at Givenchy, she took it back to the house, both literally and metaphorically. Hosted at 3 Avenue George V, Givenchy’s address since 1955, the space was stripped back, limiting distractions and encouraging full focus on Burton’s debut collection. Guests were seated on stacks of brown paper folios, reminiscent of the cache of Hubert’s patterns discovered, walled up during the renovation of his first maison in Paris. Opening the show was a skintight bodysuit emblazoned with ‘Givenchy Paris 1952’, a thoughtful nod from Burton, signalling that her tenure at the house would commence with the basics and the most intrinsic female form, building from there. As the show progressed, so did the silhouettes, offering a comprehensive acknowledgment of the modern woman and all her shapes and whims. Hourglass tailoring, flirtatious Chantilly lace dresses, and an intriguing mix of masculine and feminine shoe shapes were presented. Burton expressed her desire “to address everything about modern women: strength, vulnerability, emotional intelligence, feeling powerful, or very sexy. All of it.” And despite it being her initial collection, we believe she achieved just that. 

Alaïa 

As only Alaïa knows how, Pieter Mulier’s AW25 season pushed boundaries with technical brilliance over and above forced theatrics Mulier’s work has always reflected his deep affinity for art and architecture, and this collection was no exception. Drawing inspiration from sculptor Mark Manders, he delved into the ‘non-linearity of space and time’, weaving together ‘multiple histories, different periods and places expressed simultaneously’. The female form was redefined through seamless craftsmanship, taking on multiple architectural shapes. Padded rolls elegantly framed the face, oversized macramé gilets evoked the impression of regal armour, while meticulous razor pleats sculpted fluid yet defined silhouettes around the shoulders. The waist was redefined, positioned lower to create a protruding, almost stuffed effect on the ultra low hip. Yet amidst these avant-garde elements, the collection never lost sight of wearability and beauty—a balance that is often hardest to achieve in the pursuit of originality. Beautiful evening dresses, form-fitting tops, playful fur coats, and signature midi skirts grounded the entire collection. And if the technical innovation didn’t have you clapping already, the reminder that this is all executed knit will have you on your feet. At a moment when true craftsmanship risks fading further and further into the background, Mulier stands firm—an authoritative reminder of its undeniable necessity.

Issey Miyake 

A mind-bending exercise in ambiguity, where clothes became sculptures, and sculptures became… well, clothes (sort of). Inspired by Erwin Wurm’s offbeat art, the Issey Miyake show toyed with perception, twisting fabric into optical illusions and redefining what a “garment” even is. Paper bag dresses (yes, really) and wool-alpaca knits stiffened into crisp, structured forms blurred the line between the wearable and the conceptual. Washi-paper yarn turned blazers into torsos, while bi-tubular constructions were transformed with a simple twist. And then there were the shoes, a Camper collab that wrapped around feet like an abstract painting come to life. In true Miyake fashion, this wasn’t just a collection; it was an invitation to rethink fashion altogether. Ordinary? Never. Playfully perplexing? Absolutely.

Duran Lantink

Whether you’re familiar with the fashion circus or not, you’ve likely seen the video of a male model – a smirk spreading across his face – walking the runway in a huge, bouncing breastplate. Duran Lantink’s AW25 collection, ‘Duranimal’, proved that even in our ‘seen-it-all society’, the shock factor still carries weight, particularly regarding digital virality. In many ways, this was a defining collection for Duran, who in the past has been characterised by his bulbous and exaggerated forms, whereas this collection showcased a more mature approach to the avant-garde. Shapes were tapered, and we experienced new forms at play; trousers pinched out at the waistband and tops that gained height from architectural necklines. Python, cowskin, leopard print, and zebra-print pony hair ran riot throughout the show, spliced into unexpected combinations. The bespoke shoes debuted were crafted in Duran’s primary collaboration with Italian shoemaker Sergio Rossi. In terms of design and vision, this show felt like we were witnessing a more developed Duran, and the collection was a rewarding addition to the Paris schedule, however, back to the breasts. It seemed a shame to present such a well-polished collection and conclude with that closing look, and whether he appreciates it or not, the show has since been defined and discussed in relation to the breastplate. Drop kicking a discourse onto the digital sphere, many felt the breastplate mocked larger chests, labelling it as hypocritical in an industry that has historically excluded bigger breasts. Regarding the perky prosthetics, Duran stated, “I love the idea of women as action figures.” While perhaps suggesting an ‘empowered heroine’, but at this moment, this female action figure comes across as merely naked and plastic.

Rabanne

If previous seasons have felt somewhat lacklustre for Rabanne, Julien Dossena’s RTW AW25 collection marked a striking and welcome departure, imbued with a more modern feel. This season’s most crucial trend, fur, was given an invigorating re-imagination as a sleeve trim, an interior skirt lining, fused into luxurious coats and as multiple fake bushy tails adorning beautiful yet playful evening dresses. This "hide and seek" element became a defining theme of the collection, where tactile elements were “‘ruptured and enhanced through strategic slits, dimensional textures, and profusions of tiny paillettes.” As Dossena himself noted, “It’s as if you’re normal on the outside, but nuts inside." Yet, these textures didn't fight one another; instead, they were harmoniously in tandem. Also woven into the collection was a nod to one of 2025’s most sophisticated textiles: sumptuous calf leather, which appeared in sharp tailoring alongside tinselled knits, offering another refined contrast. Even Rabanne’s staple metallics—sometimes clumsily shoe-horned in past collections—were reworked in unexpected ways. Metallic sequins were layered over colourful PVC or sheer chiffons, creating an elevated, considered aesthetic. Dossena’s collection made a compelling argument that the brand’s signature codes need to work harder, no longer being unquestionably front and centre. 

Schiaparelli 

Schiaparelli’s collection, entitled Lone Star, saw Daniel Roseberry swap Parisian surrealism for the grit and grandeur of the American West, but, of course, with a touch of gold-dipped mischief. Cowboy boots were softened into sculptural elegance, while oversized belt buckles flaunted Schiap’s signature lobster and keyhole motifs. The play of contrasts was everywhere: slinky bodysuits that moved like a second skin, column skirts that looked weighty but floated like air. The bags? A study in contradictions, one being slouchy and supersized for the life-on-the-go customer, another studded and unapologetically bold. This was Texas through a couture lens, balancing the practical with the fantastical. And beneath it all, Roseberry’s message was clear: these are clothes for women who dress for themselves, for each other, and for no one else. Giddy up fashion girls!

Dries Van Noten

Julian Klausner’s debut collection for Dries Van Noten at the Palais Garnier proved a considered introduction to his vision as creative director. Drawing inspiration from the grandiosity of the opera house and his childhood fascination with costume play, Klausner merged history and modernity with a deep reverence for the tactile nature of fashion. Sculpted matelassé curls, oversized collars, and fold-over waists reinterpreted classic forms. Fabrics like beaded mesh and gradient paillettes brought a stage-ready flair combined with Klausner’s incorporation of craft through whipstitch techniques, intricate embroidery, and whimsical shoe lace jewelry meant each look was celebrated for its uniqueness and true attention to detail. If anything, this collection hints at Klausner's promising future at Dries Van Noten, where the dialogue between past and present is poised to continue.

Marine Serre 

At Marine Serre, the paradox was the protagonist. Deep scarlet curtains adorned the room, while the floor featured a white and black checkered marble, inspired by the late (great) David Lynch’s bizarre, surreal series, ‘Twin Peaks’. The space created a dizzying atmosphere that complimented the collection’s spirit. The stark black and white colour palette was intentionally jarring and left little room for the middle ground, the undecided, all consolidated by the collection’s provocative title, ‘Heads or Tails’. The monetary motif served as a poignant throughline throughout the show, hosted at La Monnaie de Paris, one of the ultimate spatial symbols of money in the French capital. As an independent brand, Marine Serre understands more than most the often damning financial implications of working in fashion and showcasing collections, and yet in this bombastic reappropriation of La Monnaie, the collection stands as a defiant stance against a world governed by financial dictates. Symbols of wealth were articulated through repurposed watch straps, shaped into a skintight mini dress, while shining gold military medals adorned with vibrant red ribbons created a bandeau dress. Marine’s world encourages us to be audacious while recognising the uncertainty that surrounds us. Her codes are always present, yet they consistently feel as though they mirror the context in which they were crafted. Her moon motif will undergo numerous iterations, appearing in red-carpet-ready looks or pieces that embody a sportier style; yet this is what makes Marine Serre such an important designer. She invokes consistency while acknowledging the fundamental shifts in her context, which will influence her design process in one way or another.