Top 10 Paris Fashion Week 2025 Show-Stoppers
Now that the 2025 Fall/Winter Ready-To-Wear Paris Fashion Week has concluded, and we’ve all had time to pore over the collections, it’s safe to say that this season delivered some of the most captivating and boundary-pushing shows in recent years. As someone who has spent the past five years immersed in studying fashion design, marketing, trends, and photography, I’ve watched my own tastes evolve with each passing season. This year, I found myself drawn to a thrilling blend of the classic and the experimental. From the resurgence of extravagant furs and sharply tailored suits to the boldness of extreme structuring, the runways were brimming with innovation. Neon hues injected playful rebellion, while all-black ensembles delivered sleek, brooding elegance. British country influences, fluid drapery, and statement neck flourishes rounded out the diverse yet cohesive aesthetic narrative of the season. In this article, I’ll be sharing my personal favorite shows – from the timeless sophistication of Chanel to the subversive artistry of Matières Fécales – highlighting the collections that left a lasting impression and reaffirmed why Paris remains the epicenter of fashion.
Chanel
Kicking off with Chanel, Matthieu Blazy’s debut as creative director was nothing short of breathtaking. Taking the reins of such a storied house is no small feat, yet Blazy approached it with a reverence for the brand’s heritage while subtly infusing his own contemporary edge. Even before the first model walked the runway, the Grand Palais had been transformed into a massive black ribbon-shaped set – a literal and symbolic nod to Coco Chanel’s signature bows. This clever staging tied the entire show back to the maison’s timeless codes, setting the tone for what was to come.
From the first look, it was clear that Blazy was treading the line between tradition and modernity with finesse. The runway was brimming with impeccably tailored silhouettes, from sharp-shouldered coats to classic tweed suits that exuded quiet luxury. Yet, what truly struck me was the subtle reinvention of these house staples. Several short tweed looks were softened with ethereal trompe-l’oeil tulle overlays, creating a delicate veil effect that blurred the edges of the structured silhouettes. The result was a mesmerizing play of texture and transparency, lending the collection a romantic, fluid quality. Some of these softly superimposed pieces were tied at the neck with dainty black bows – a seamless nod to the Chanel ribbon motif that recurred throughout the show.
Blazy and his team explored every possible iteration of the iconic bow – knitted, printed, accessorized, and more. The standout, however, was the classic black satin bow tied elegantly at the neck of a billowy silk-satin poet blouse – a quintessential Chanel styling trick that reads effortlessly chic on practically anyone. The collection also paid homage to Coco herself with white ruffled collars – a signature styling detail she often wore in contrast to black jackets. Here, it was reinterpreted with cream chiffon ruffles framing the hems, shoulders, and necklines of tweed suits – a playful, feminine twist on classic tailoring.
The knitwear, however, stole the show for me. The oversized pastel green sets were absolute standouts, cocooning the models in plush layers while maintaining an air of understated elegance.
Ultimately, Blazy’s debut was a triumph – a seamless blend of nostalgia and modern style. It was a thoughtful exploration of the house’s iconic codes, reimagined with a delicate hand and contemporary relevance. If this is any indication of what’s to come, the future of Chanel under Blazy’s direction looks incredibly promising.
Schiaparelli
Next up is Schiaparelli, and let me just say – Daniel Roseberry has once again proven why he is easily my favorite creative director in the industry right now. With each collection, he somehow manages to outdo himself, pushing the boundaries of surrealism and opulence while staying true to the house’s avant-garde roots. This latest show was no exception. It felt like a glamorous Wild West fever dream – bold, daring, and dripping with theatrical elegance and Western influences. From the moment the first model emerged, it was clear that Roseberry was leaning into exaggerated silhouettes and intricate detailing, creating a fantasy-driven yet wearable take on Americana.
Fresh off his Oscars triumph – where Ariana Grande sparkled in a crystal-encrusted version of Schiaparelli’s “Venus on the Half Shell” gown – Roseberry brought that same star-studded energy to this ready-to-wear collection. Held at the Musée d’Art Moderne de Paris to a front row stacked with industry power players, the show was a clear statement: Schiaparelli is no longer just a couture house – it’s making a bold move into ready-to-wear dominance.
One of the standout elements of the collection was the masterful use of structured suiting, given new life through dramatic proportions and luxurious detailing. The Schiaparelli printed leather suit with fur trim (Vogue look 6) was easily my favorite. The broad, armor-like shoulders and cinched waist created a striking hourglass silhouette, while the black maxi dress with delicate micro-fringing (Vogue look 38) was another showstopper for me. The cascading fringe created a hypnotic sense of motion as it trailed behind the model, both elegant and commanding.
Throughout the collection, Roseberry embraced repetition to drive home his vision. Oversized tailored suits, dramatic hourglass figures, and heavy fringing appeared again and again, creating a cohesive visual language. Multiple belts – often stacked or layered – cinched waists and emphasized the feminine-meets-masculine contrast. The cowboy influences were undeniable: silver and gold-buckled belts, lace-up leather pants reminiscent of chaps, and a gunslinger-inspired leather coat with grommets, fringe, and quick-draw pockets. It was a playful nod to Roseberry’s Texan roots, reimagined with a glamorous, high-fashion twist.
Compared to his past collections, this one felt grittier and more rugged – a departure from the celestial elegance of his earlier couture work. Yet, it still carried his signature whimsical touches, like the oversized gold jewelry, which added a playful, surrealist flair. The jewelry itself, a core part of Schiaparelli’s identity, has now been industrialized for ready-to-wear – still packing the same punch but weighing half as much, making it more wearable without losing impact.
What made this collection especially powerful was its underlying narrative. Roseberry envisioned a post-men apocalypse, where women inherited the earth and reimagined masculine archetypes through their own lens. This concept came to life through the strong, masculine tailoring paired with hyper-feminine detailing – a perfect balance of strength and sensuality. Even the relaxed looks, like the beaded pajama sets, felt statement-making – because why shouldn’t you lounge in couture?
Overall, Roseberry delivered a show that was both commanding and seductive – a perfect balance of fantasy and wearability. His glamorous Wild West aesthetic, infused with surrealist flair, cemented his status as a true visionary. With every collection, he continues to redefine modern couture while keeping Elsa Schiaparelli’s irreverent spirit alive – and I, for one, can’t wait to see what he does next.
Matières Fécales
Next on my list is the hauntingly mesmerizing show by Matières Fécales – it was horrifyingly good in the best possible way. Staged in a serene Parisian mansion, the almost heaven-like ambiance starkly contrasted with the demonic, otherworldly nature of the collection. The creative duo behind the brand, Hannah Rose Dalton and Steven Raj Bhaskaran, once again proved their mastery of shock and awe, delivering a collection that blurred the line between fashion and performance art.
The models emerged like ghostly apparitions, their faces painted bone-white with deep, hollowed shadows. Jet-black sclera contacts erased any trace of humanity from their gaze, making them look truly extraterrestrial. Their slow, deliberate movements added a theatrical eeriness to the show, making the entire presentation feel like a haunting fever dream.
What completely captivated me were the shoes – a surreal feat of design. The massive platforms with curved heels gave the models an inhuman, towering presence, pushing the alien aesthetic even further. The final look’s shoes were particularly striking, appearing to fuse into the model’s flesh, making her seem part machine, part demonic entity.
The collection was filled with consistent, menacing motifs. Long, jagged spikes jutted out from jewelry and garments alike, giving the models an almost weaponized appearance. Punk-inspired spiked gloves added a raw, aggressive edge, while metal hardware accessories gave the impression of living armor – beautiful yet dangerous.
Tulle was used brilliantly throughout, draping and flowing in ghostly cascades. Some gowns featured delicate layers that floated behind the models, while others had sweeping trains that trailed the ground like phantom shadows. The feathered structures were another standout – fractured angel wings that embodied both beauty and menace. The white feathered pieces evoked saintly spirits, while the black ones felt sinister and hellish, reinforcing the heaven-and-hell duality.
The color palette further emphasized this contrast – dominated by black with splashes of blood red and ghostly white. The interplay of textures, from glossy, liquid-like leather to delicate, gossamer tulle, added to the collection’s hauntingly beautiful aesthetic.
Overall, Matières Fécales delivered a spellbinding display of fashion as art – equal parts grotesque and glamorous. The creative directors continue to redefine the boundaries of wearable art, making the eerie exquisite and the otherworldly breathtaking. This was easily one of the most unforgettable and beautifully disturbing shows of the season.
Christian Dior
Dior’s collection is, without a doubt, the best we’ve seen from the house in years. While Dior has always delivered stunning showcases, Maria Grazia Chiuri took things to a whole new level this season. The sheer scale of the show – 81 looks – was incredible, and there wasn’t a single misstep. The collection felt fresh, bold, and beautifully executed, blending impeccable tailoring with deep historical and literary references.
Chiuri drew inspiration from Virginia Woolf’s “Orlando”, using its themes of fluidity and transformation to create a collection that spanned centuries. The historical references were apparent – Elizabethan doublets, ruffs, and corsetry – yet everything was reinterpreted in a wearable, modern way. The opening look set the tone: a men’s jacket with raw basting over a black frilled blouse, paired with Bermuda knickers and knee-high boots. This androgynous mix of masculine and feminine continued throughout the collection, which offered sharp tailoring, raw-edged brocaded coats, and luxurious capes alongside crisp white shirts with dramatic cuffs.
Corsetry, a signature element of the Dior silhouette since 1947, made a brilliant reappearance, but with a twist. Rather than being restrictive, these corset-like elements were modular and versatile – designed to zip in or out of jackets, coats, and parkas. Chiuri cleverly gave the wearer the choice: cinch the waist for a more structured silhouette or leave it relaxed and open. This subtle play on self-expression made the collection feel refreshingly modern.
Chiuri brought in theater scenographer Robert Wilson for the set design, creating a haunting, surreal atmosphere that enhanced the collection’s emotional depth. The symbolism in the staging was powerful – representing female resilience, historical oppression, and the reclamation of power – a recurrent theme in Dior’s collections since Chiruri took over as Dior’s creative director in 2016. Chiuri also referenced Dior’s past with subtle nods to John Galliano’s mini saddle bags and the reworked Lady Dior bag, now a spacious tote, making it feel fresh and modern.
This collection was Chiuri’s most liberated yet, showcasing beautiful craftsmanship and forward-thinking designs while staying true to Dior’s legacy. It was a stunning balance of historical references, modern luxury, and striking visuals – one of the season’s most compelling shows.
Ann Demeulemeester
Ann Demeulemeester’s collection marked a powerful moment for the brand, reaffirming its identity under the creative direction of Stefano Gallici. For his fourth runway show, Gallici leaned into the brand’s signature elements while introducing a fresh yet familiar vibe. The collection effortlessly captured the romantic yet rebellious essence of Demeulemeester, blending deconstructed tailoring with soft ruffles, raw edges, and undone layers. The result was a collection brimming with the echoes of 19th-century romanticism and ’90s rock star energy, designed for those with an artistic, almost ethereal sensibility.
What struck me the most about this show was how Gallici revisited iconic motifs that have long defined the brand. Tassels and hats were used throughout the collection, reinforcing the aesthetic while adding new layers of texture and drama. The tassels appeared in various forms – hanging from jackets, dresses, and accessories – contributing to a sense of movement and fluidity. Meanwhile, the hats, with their wide brims and shadowy appeal, added a touch of mystery and intrigue, perfectly complementing the overall ethereal quality of the collection.
The collection was undeniably maximalist in its choice of materials, from cobweb-like knits to boudoir lace and distressed denim. But it was in the more minimalist silhouettes where the collection truly shone. The sharp, severe lines – particularly in the period-inspired frock coats and Western-style tailoring – highlighted Gallici’s ability to balance artistic exploration with commercial appeal. The desert tones and Southwest influences, inspired by his travels in America, further emphasized the collection’s connection to the spirit of wanderlust and freedom. There were beautiful personal touches woven into the garments, including prints of Gallici’s handwriting and a tiny metal notebook accessory, all nods to his introspective, dreamer-like approach to fashion.
What really makes this collection stand out is its ability to stay true to the heart of Ann Demeulemeester while moving the brand forward in an exciting way. Gallici’s vision is not just about clothing but about evoking a feeling, a mood. The collaboration with Ray-Ban, the inclusion of love letters and dream catchers, all speak to the wandering, creative spirit that fuels this collection. It’s a celebration of the journey, the lost paths, and the new roads that lead to something truly inspiring.
Zimmerman
Zimmermann’s collection was a burst of sunlight that illuminated the cold Parisian backdrop. From the moment the show began, it was clear that Nicky Zimmermann was taking us on an escapist journey, one that transported us from the grayness of the city to the warmth and energy of an Australian dream. The collection, inspired by the hauntingly beautiful “Picnic at Hanging Rock”, was a celebration of femininity in its most ethereal form – draped in layers of delicate fabrics, adorned with ruffles, and accented with intricate details that added depth and texture to every look.
What struck me most about this collection was its exceptional attention to the smallest details. Zimmermann’s signature style, with its soft, romantic appeal, was elevated by masterful fabric manipulation. Layering was a key theme throughout, with sheer fabrics flowing gracefully alongside more structured elements, creating an effortless sense of movement. The flowing sleeves and cascading trains that adorned several of the garments gave the collection an almost fluid, otherworldly quality, making the models appear like dreamlike creatures gliding across the runway.
The mix of fabrics – light cotton tulle, rich velvet, and soft denim – was unexpected but seamlessly executed, showcasing Zimmermann’s ability to mix the delicate with the grounded. Each piece felt carefully constructed to emphasize both beauty and wearability, combining elements of vintage charm with modern sensibilities. From the Victorian-inspired lace to the playful ruffles, the collection carried a sense of whimsy, but it also maintained an underlying strength. The silhouettes were feminine but had a sense of ease and confidence, as if the wearer could step into any situation – whether it be a wedding, a soirée, or a day out – and feel both empowered and graceful.
Zimmermann’s attention to texture was also worth noting – every piece seemed to have a story to tell, whether through the intricate lace details, the hand-drawn prints, or the subtle sheen of fabrics like silk and velvet. The collection felt effortlessly luxurious yet approachable, with a clear focus on creating garments that could transition from fantasy to reality without losing their sense of wonder. Nicky Zimmermann has once again proven that her vision for the brand is as bold and beautiful as ever – timeless but always evolving.
Duran Lantink
Duran Lantink’s collection was a striking exploration of the unconventional and the unapologetically bold. From the moment the show began, it was clear that Lantink was continuing to redefine the fashion landscape with his obsession for extreme shapes and boundary-pushing silhouettes. Known for his daring approach to structural design, Lantink brought a new level of audacity to the runway by manipulating form in ways that felt both rebellious and thought-provoking. As the models strutted down the runway, the focus was on sharp angles, exaggerated proportions, and highly sculptural garments that seemed to defy the norms of fashion.
The use of foam padding and metal bands throughout the collection was particularly eye-catching. I couldn’t help but be drawn to the floating skirts that appeared to hover in space, almost like a magical trick of fabric and structure. The trousers, with their graphic shapes that jutted out at the waist, were another example of Lantink’s genius in creating moulds that don’t merely complement the body but alter its natural form entirely. This was a collection that asked us to reconsider the very way we think about fashion’s relationship to the body. The focus wasn’t on enhancing traditional proportions but on distorting them to create something new and powerful.
Lantink’s use of bold materials further elevated the avant-garde nature of the collection. Animal prints, loud camouflage, and exaggerated plaid were mixed with the kind of technical craftsmanship that made the pieces feel unexpectedly wearable despite their avant-garde nature. The Barbour jacket that had been transformed through the addition of dramatic padding was a prime example of how Lantink played with the boundaries of good and bad taste, mixing high and low influences to create something entirely new. The standout looks, though, were the latex tops worn by Mica Argañaraz and Chandler. Mica’s look, designed to resemble a muscled torso, and Chandler’s, featuring large, hanging breasts, were bold statements on gender and the body, adding another layer of provocative commentary to the collection. This deliberate exaggeration of feminine physical traits on a male body and vice versa served as a satirical commentary on societal perceptions of gender and the often arbitrary distinctions drawn between male and female forms. Lantink’s unapologetic approach to fashion was evident in these choices, challenging norms and encouraging freedom of expression.
This collection wasn’t just about shock value – it was about shifting the conversation on what fashion can be. Lantink’s fearless deconstruction of traditional beauty standards, combined with his mastery of structure and material manipulation, makes this one of the most memorable shows of Paris Fashion Week.
Junya Watanabe
If you couldn’t tell from some of the features on this list so far, I am a huge fan of avant-garde, so this collection absolutely blew my mind. I cannot even fathom how they managed to successfully create the majority of the structured shapes in their clothing throughout the show. Junya Watanabe’s Fall 2025 collection was a true masterclass in texture, structure, and surreal design, combining elements of Jimi Hendrix’s chaotic rock energy with the deconstructivist influences of Cubism. The shapes – so deliberate and exaggerated – transformed familiar pieces like jackets and dresses into sculptural works of art. The distortion of the classic Perfecto jacket into angular, rhomboid forms, with sharp spikes jutting out from the shoulders and hips, created a visual dialogue between fashion and the abstract. It was not just about the garments themselves but the world they evoked – full of discord and harmony, like a Hendrix solo.
The textures throughout the collection were mind-blowing, with faux fur, croc-leatherette, and python patterns combining to create a tactile richness that felt almost too much to take in at once. These elements weren’t just about visual impact but how they interacted with each other – creating friction and dialogue between the materials. One standout was the use of inverted wigs as tops, which added this otherworldly, textural element to the collection while challenging the viewer’s idea of what fashion can be. Denim and trench jackets were reimagined with such unexpected distortions – rising from the body in sculptural ways – that they looked almost like armor, but with a fluidity that defied rigid design. The final pieces, made from shiny black plastic and sewn into reptilian, heroic forms, were the ultimate nod to Watanabe’s take on a “rock god” aesthetic, blurring the line between human and myth. It was a collection that challenged everything I thought I knew about fashion – pushing me into a space where form, texture, and music collided. Simply put, it was an exhilarating experience that set a new standard for avant-garde fashion.
Dries Van Noten
Dries Van Noten’s show was a captivating dance between the old and the new, blending the essence of the brand with fresh energy under the guidance of Julian Klausner. Klausner, who took over after Van Noten’s retirement, brought a new perspective to the label, one that still honored the signature textures, prints, and rich drapery that define Dries, but with his own distinct flair. The venue, the majestic Opéra Garnier, set a dramatic tone that played into the idea of a “curtain opening,” making the clothes feel like they were being revealed on stage, ready for their moment in the spotlight. The intricate layering of fabrics throughout the collection stood out to me – there was this perfect balance between classic Dries silhouettes and a newer, more theatrical approach.
The layering was absolutely stunning, with rich materials like velvet, silk, and tweed being combined in unexpected ways. The drapery, especially, was exquisite, with pieces that flowed and moved with the models in a way that felt almost cinematic. The oversized, elegant knitwear caught my attention the most – those neon jumpers paired with the patterned wraps felt both bold and cozy, two words you wouldn’t expect to go together but somehow worked seamlessly in Klausner’s hands. And, of course, the use of classic Dries colors – earthy tones mixed with splashes of jewel tones – along with the signature prints, was undeniably present throughout. It was almost like a familiar lullaby in terms of color and pattern, but with new twists. As the collection unfolded, it was clear that Klausner had found his stride, infusing the spirit of Van Noten into a more modern framework. There was this sense of freedom and ease that ran throughout, making it clear that the collection was not only made for the runway but for real life too. This show was a testament to Klausner’s ability to understand the Dries Van Noten legacy while confidently introducing his own voice.
One of the elements that truly stood out to me was the collection’s ability to straddle both formality and ease. Klausner seemed to have a particular talent for creating pieces that were elevated yet comfortable, which is what made this collection feel so wearable, even with its couture-like touches. The tailoring was relaxed but precise, like the crystal-embroidered silk pantsuit that flowed effortlessly with the models’ movements, juxtaposing the stiff nature of formal wear with the ease of a casual look. The intricate details, like the embroidery on the collar of a tapestry coat, showed that Klausner wasn’t afraid to take risks with embellishment while still maintaining a sense of grounded elegance. The mix of the dramatic and the practical – shown through the versatile layering, voluminous silhouettes, and refined details – captured the spirit of the Dries Van Noten brand while paving the way for what feels like a bright future under Klausner’s creative direction.
Anrealage
Sitting at the top of my list this season for Paris Fashion Week is, without a doubt, Anrealage’s absolutely insane showcase. As someone who’s always excited to see how new tech can revolutionize fashion, this collection blew my mind in ways I didn’t expect. Anrealage has taken the intersection of technology and fashion to a whole new level with a show that felt like the future of design had arrived. Creative director Kunihiko Morinaga’s vision was brought to life in the most unexpected setting – the American Cathedral in Paris, an ancient church that created a stunning juxtaposition with the futuristic garments displayed. The venue is steeped in the history of ancient Episcopal Christianity, yet here we were, witnessing the next evolution of fashion, bridging the past with a thrilling glimpse of what’s to come.
The show began with avant-garde, pixelated garments that hinted at a digital future, before transitioning into a darkened room where the true magic of the collection unfolded. Integrating LEDs directly into the clothing, Anrealage introduced garments capable of changing designs in real time – this wasn’t just a gimmick; it was fashion’s next frontier. The designs were able to shift and morph seamlessly from one model to the next, with patterns transitioning from checks to block colors, pixelated waterfalls, and Matrix-style glitches – all while the garments maintained their structural integrity. The ability to move freely without distorting the images like a projector would was mind-blowing. The possibilities of this technology are limitless, and I couldn’t help but imagine how it could transform not just fashion, but how we experience and interact with clothing daily.
Morinaga’s inspiration for this collection was rooted in his desire to turn our relationships with screens inside out. The silhouettes, with their 3D-printed shoes and pixelated blockiness, evoked the digital worlds of Minecraft and Roblox, creating a strong connection between the physical and digital realms. By incorporating up to one million pinpoint-sized LEDs into each garment, Morinaga was able to create a stunningly detailed texture that appeared completely fabric-like when not emitting a pattern. The first 12 looks were an analog printed version of the screen fabric garments that followed, which showcased how truly revolutionary the technology is – this was not just about flashy lights, but about creating a new tactile experience for fashion.
What was especially fascinating to me was the seamless blending of technology and tradition. The religious-inspired stained-glass patterns that initially appeared on the garments as they glided down the runway felt like a nod to the past, yet the futuristic textures and patterns made them feel incredibly contemporary. It was a stunning contrast, and the 60 patterns developed by Anrealage’s technological collaborators, MPLUSPLUS, added layers of depth to the collection. I found myself completely captivated by how the garments seemed to transform right before my eyes, as if the clothes themselves were alive and capable of evolving.
In many ways, Anrealage’s show felt like a William Gibson novel come to life, bringing us the first real-world example of self-patterning screen clothing. It was unlike anything else on the runway this season, and you could see how this technology could eventually evolve into something even more refined, where the textures and patterns rendered would feel even more natural, less like digital lights and more like true fabric. But for now, this collection stands as a groundbreaking moment in fashion—an awe-inspiring mix of technology and artistry that has the potential to change the way we think about clothing forever. As PR Consulting’s Nathalie Ours aptly noted, Morinaga is undoubtedly the Courrèges of our time, and I can’t wait to see where he takes this innovative journey next.
As One Reflects on the Incredible Range of Collections Showcased at Paris Fashion Week F/W25…
It’s clear that fashion continues to evolve in exciting and unexpected ways. From Ann Demeulemeester’s raw, romantic rebellion to Anrealage’s groundbreaking fusion of technology and tradition, each designer has pushed the boundaries of creativity, offering new perspectives and redefining what fashion can be. What excites me the most is how each collection not only tells a story but also sparks a dialogue about where we are headed in the future of fashion. Whether it’s through the tactile richness of Dries Van Noten or the sculptural exploration of Duran Lantink, these shows have reminded me of the power of fashion to challenge, inspire, and transform. Paris has once again proven why it remains the heartbeat of global fashion, and I can’t wait to see where this journey takes us next, throughout the remainder of 2025 and beyond.
