Spring/Summer 2025: An Overview

NEW YORK FASHION WEEK

New York Fashion Week (NYFW), ran from September 6th to September 11th this year, although Ralph Lauren shook things up with a surprise relocation to the Hamptons to kick off the week, which he described as “my refuge”. Guests enjoyed the warm weather and seaside setting that matched the coastal-coded pieces that Ralph Lauren sent down the runway. The collection was well-liked by the fashion industry. Although there was nothing particularly adventurous, it was a classic contribution to Lauren’s portfolio that evoked equestrian-influenced all-American aspirational style he’s best known for. Resplendent with a star-studded crowd, the Hamptons runway was a clever move that honed in on what Ralph Lauren does best. Notably, Jill Biden was in front-row attendance. With this invite, Ralph Lauren started off the week with a move that began to resemble a trend in NYFW: poignant political messaging, both subtle and unsubtle. With the American presidential election in November serving as a backdrop, designers used their collections to make their political values clear to their audience.

One such designer was new American breakout fashion designer Willy Chavarria, whose collection ‘América’ was a powerful statement about the importance of immigrants and the working-class for the U.S., at a time when many call for increasingly stringent anti-immigration measures and income-inequality is rapidly growing. Set in a disused Wall Street bank, the location’s symbolism of wealth and status contrasted against the workwear and uniform-like styles featured on the runway. A massive American flag hung from the ceiling, and a copy of the American Constitution adorned each seat, but Chavarria’s intention was to “celebrate immigrants…[who] are the backbone of this country.” Similarly, Off-White’s new creative director Ib Kamara was heavily inspired by late founder Virgil Abloh’s Ghanaian heritage in his debut collection, emphasizing multiculturalism and unity. Smaller designers Prabal Gurung, with ‘vote’ emblazoned t-shirts and Area with a ‘bans off our bodies’ tagline both sent political messages walking down the runway to much fanfare.

Willy Chavarria RTW Spring 2025 (Photo by Gilbert Flores/WWD via Getty Images)

NYFW this year also coincided with the U.S. Open, making it a bigger moment than usual and sparking a hot trend of athletes present (as guests and on the runway) and clear sportswear influences. The lingering memory of the Olympics this summer, in which the U.S. performed with strength, definitely added to this trend too, with the gymnast Jordan Chiles and the track-star Noah Lyle walking for Kim Shui and Willy Chavarria, respectively. Many athletes also dotted the front rows of various shows as the fashion industry increasingly shifts towards partnering with the lucrative sports industry as luxury revenues cool. Along those lines, Willy Chavarria had a notable partnership with Adidas for his most recent show, claiming he wants to “democratise” his label by creating more affordable pieces. The partnership featured sportswear staples, including tiny running shorts, loose tracksuits, jerseys, knee-high socks, and the long-awaited return of Adidas’s famous Jabbar sneakers. Tory Burch’s show, another standout of the week, was heavily influenced by sportswear, with Burch citing women’s sportswear pioneer Claire McCardell as her primary inspiration. Featuring high-cut swimsuits, references to martial arts uniforms, tennis-striped shirts, skirts with dancer-like sensibilities, and her latest pierced pump. Cos, a London-based fashion brand, also leant into the sports trend with ballet and dance-inspired pieces.

Cos, along with Alaïa and Off-White, were all brands who decided to hop over the pond to join NYFW for the first time this fall. Alaïa and Off-White both relocated from Paris, and their debuts in New York were both critically well-received. Alaïa’s move to New York made perfect sense as Pieter Mulier stated he had an obsession with American beauty and wanted to have a “celebration of the American ideology of dress”. Held in the Guggenheim Museum, his sculptural collection included breathtaking dresses that either appeared to defy gravity or that luxuriated in their own simplicity, like clean bandeaus and sheer skirts. Other highlights included extreme takes on texture, with large palazzo pants and a cotton-candy coloured fur coat descending down the famous twisting spiral ramps of the museum.

LONDON FASHION WEEK

London Fashion Week this year celebrated its 40th anniversary, and it gave the fashion world strong showings from a mix of London’s more well-established and up-and-coming brands. As many famous London-based brands, such as Stella McCartney, Alexander McQueen, Cos, and Westwood, opt to show their collections at different fashion weeks, London Fashion Week was special for its marked vibrancy as younger and more eccentric brands were given a greater chance to shine here than in other cities’ shows. Three shows dominated the social media conversation this year: JW Anderson, Burberry and Simone Rocha, with beautiful collections true to form. Other notable standouts included S.S. Daley’s debut womenswear line, as well as impressive showings by 16Arlington, Erdem, and KNWLS. The trench coat, a quintessential British wardrobe staple, dominated the runways, alongside other key trends like fringe detailing and mini dresses, with a particular focus on wide silhouettes that emphasised the hips. Burberry emerged as the clear frontrunner of the season, boasting an impressive Earned Media Value of $6 million (based on Instagram data from Lefty.io)—far surpassing the second-biggest show, which generated only $1.5 million. Burberry’s hallmark outerwear was a standout, with signature pieces like trenches, parkas, and raincoats given fresh updates, including oversized fluffy collars, cropped looks, and cutouts. The collection stayed true to Burberry’s classic colour palette—grey, olive, and terracotta—while introducing a new hue for its spring/summer line: lilac. This vibrant shade, paired with a daisy motif and fabrics like silk poplin and linen, infused the collection with a joyful spirit. Creative director Daniel Lee described the show as embodying a sense of ‘lightness’ and ‘easy elegance’ inspired by early 2000s fashion. To counter the moody tones of the outerwear, the runway also featured fringe dresses adorned with dazzling, intricate sequins.

While the collection received praise for its tailoring and standout pieces, critics noted that Lee leaned heavily on nostalgia and Burberry’s established classics, favouring a backward-looking approach. In an industry facing uncertainty, this reliance on familiar themes poses a risk; there are only so many times a brand can successfully pull off continuously self-referential collections. However, this year it did so with undeniable success.Unlike Burberry, S.S. Daley did not stay true to form this season, instead taking a bold step forward by designing his first womenswear line. Daley, known for his exceptional tailoring and suits, drew inspiration for the collection from 1900s queer British artist Gluck. Gluck was known for their beautiful paintings of very feminine women and bouquets, but wore masculine dress. Finding similarities between Gluck and himself, Daley mined the juxtaposition to create a collection that was a cross between a mens and womenswear line: sharp tailoring combined with splashy floral prints. Featuring suits, voluminous trousers, and silk blouses, Daley used Gluck’s paintings of bouquets and dogs to create the abstract patterns found through much of the collection. Daley also won the Queen Elizabeth Ⅱ Award for Design, a well-deserved award for a successful debut, which was attended by stars including Harry Styles, who has personally invested in the brand.

JW Anderson also delivered a collection focussed on tailoring and structure with a well-executed theme: a return to simplicity. Anderson said he strived for a certain ‘strictness’ using a ‘streamlined library of materials’–namely cashmere, satin, leather, and sequins–for a streamlined collection. Being restricted to only four materials allowed Anderson to focus on the essentials, as he stated there, “needs to be a narrowing of things” as he tries to intuit where the next decade of British fashion is going. Working as creative director of both Loewe and his eponymous label presents as a challenge, but one Anderson handled well. This spring/summer collection featured mini dresses with jutting flared skirts, knitwear and barn jackets, along with strong shoe and accessory designs.

This LFW, Simone Rocha was a wonderful deviation from the technically-oriented shows previously discussed. Held in the Old Bailey, Rocha’s show was inspired by the world of dance, ballet and theatre. Brimming with emotion and romance, Rocha continued to explore the interplay between the sweet and subversive in her latest collection. Done in a colour palette of mostly reds, pinks and blacks, the theme of dance showed Rocha presenting her take on ballet pumps, as well as tutus, ballet knits, sheer coats, and silk dresses. Bows, tulle, and a carnation motif were littered throughout, adding to the glamour and romance Rocha sought to evoke from the collection. The show saw a departure from Rocha’s usual billowing silhouettes to more refined looks; an sophisticated evolution in line with her chosen theme of dance, an evolution she described as a “bit more intimate, interesting, and playful” than her prior collections. The final portion of the show consisted of Rocha’s third bejewelled collection with Crocs being presented, which will be sure to sell out like the last two.

MILAN FASHION WEEK

As the luxury industry grapples with the recent slowdown in revenue and sales, Milan Fashion Week this year was unique for the bold moves designers made as many stepped out of their comfort zones to send unexpected pieces down the runways. The Milanese fashion houses are known for delivering stealth wealth style collections that double down on their familiar signatures and house codes, which made it all the more surprising. For the most part, this worked, with particularly delightful collections from Prada, Dolce & Gabbana, and Ferragamo, which broke from predictability to deliver fresh and elegant Italian looks.

Perhaps the most unexpected collection of all was Miuccia Prada’s this year, who said that she was “very very nervous” for the show. Miuccia Prada and Raf Simons worked together to hone in on the theme of the, “rejection of the derivative and expected,” in response to internet algorithms increasingly conducting people’s ideas of taste and style. No two looks were the same, or even similar–there were some with trompe l’oeil elements like fur collars and belts overlaid into trousers, dresses and skirts purposely cut askew, paired with futuristic, blown out of proportion eyewear. The result was dizzying and exciting, and divisive. Most critics loved the show, although some felt that the oddly paired clothes, such as an argyle sweater worn with a leather skirt, or ball gowns worn with anoraks, were done for shock value and lacked a clear theme.

Prada also participated in a trend that seemed to take over MFW this season: creases. Designers Max Mara, Ferragamo, Prada, and Bottega Veneta all decided to leave the iron at home, embracing the wrinkled look. Prada embraced this trend with wonky collars, Ferragamo with rumpled coats, and Max Mara with crinkled dresses. However, Bottega Veneta took the concept to another level, subverting the brand’s usual focus on precision by creating clothes that looked pre-worn and relaxed. The rumpled, creased look of the collection was meant to depict “that first day of school when (you arrive) looking impeccable and you come back at the end of the day crumpled,” creative director Mattieu Blazy stated after the show. Blazy found inspiration for the collection from a scene in the film ET, where the alien hides in a closet full of toys. He wanted to capture the childlike wonder and joy of the alien in his collection, going so far as to recreate the scene in the warehouse where the show was staged; instead of chairs guests sat on bean bags resembling toys found in the ET scene. Capturing the wonder that kids feel when they “try on their parents clothes” he added, was the goal. The result was oversized T-shirts, jeans, blouses, and suits that appeared wrinkled like clothes just taken out from the laundry machine. Bottega’s show was the closing show of the week, and drew a star-studded crowd, from Jacob Elordi to ASAP Rocky all plopped on the animal-shaped bean bags.

Milan Fashion Week also had a collection directly inspired by dance this season, with Ferragamo sporting the crinkled trend with their coats but exploring dancewear for their more everyday pieces, with ballet slippers, leggings, leotards, and dance tops all appearing on the runway. The inspiration stemmed from two of Salvatore Ferragamo’s biggest clients, famous ballet dancer Rudolf Nureyev and choreographer Katherine Dunham. The collection had a cohesive, minimalist aesthetic that was elegant yet chill, as creative director Maximillian Davis embraced his Carribean roots with outfits that appeared relaxed, with components like rumpled coats and frayed denim.

Bottega Veneta and Ferragamo both presented well-received collections at Milan Fashion Week, demonstrating a clear, well-executed vision with ready-to-wear pieces that seamlessly fit into day-to-day life. However, not all of the big names enjoyed the same level of acclaim. Gucci and Versace, while solid, were overshadowed by the originality seen from other designers this season. Gucci’s creative director, Sabato De Sarno, described ‘casual grandeur’ as the core theme of the collection in his show notes, and although this aim was achieved, it was delivered through familiar Gucci staples seen in recent seasons—such as red leather, sporty tailoring, lingerie-inspired looks, and equestrian accessories. The collection reflected De Sarno’s increasing assurance as he continues to establish himself at Gucci, but it also showed that he has yet the confidence to fully break away from the brand’s established mould and do something new. Versace created a collection that took a spin on ‘70s style–think tan hues, tea dresses, tie-front tops and soft florals. The pieces were retail-ready and pretty, but Versace is known for its sexy, subversive style, and the collection lacked that Versace DNA, leaving viewers searching for the collection’s soul.

Dolce & Gabbana delivered the fashion world’s most delightful surprise of the week, creating a high-voltage moment with a guest appearance by Madonna, which earned a standing ovation. Unsurprisingly, the collection was a loving tribute to the queen of pop, with models donning blonde wigs, pointy bras, corsets, and suspenders—an unmistakable nod to her iconic style. Titled “Italian Beauty,” the collection fused classic Italian elegance with Madonna’s ‘Material Girl’ influence. Alongside the signature Madonna references, the runway featured micro shorts, cropped jackets, flapper dresses, and flowing gowns, resulting in a bold, feminine, and sexy collection that is bound to inspire new trends in 2025. Until this moment, the season in New York, London, and Milan had been lacking the kind of electric, frenzied excitement that Dolce & Gabbana brought to the stage, making the show a standout even before it had concluded—undoubtedly the most memorable of Milan Fashion Week, and possibly the entire season.

PARIS FASHION WEEK

Paris Fashion Week is widely considered the most important event in the global fashion calendar, and with its nine day schedules and long roster of famed fashion houses, a lot is crammed into the one ‘week’. As France is mired with political turmoil and consumer spending remains shaky after a bout of high inflation, Paris Fashion Week this year showed brands either turning to heritage for comfort and doubling down on brand codes, or looking to surrealism as an act of escape. The highlights included collections by Saint Laurent, Dior, and The Row. Other notable collections included Valentino, Chloé, and Miu Miu.
Three big names at Paris Fashion Week, Chanel, Louis Vuitton, and Balenciaga, all dealt textbook collections containing all of their brands’ signature house codes and archival references but failed to make a splash. Chanel not having a creative director is clear as the collection lacks a clear vision to push the brand forward, although the in-house team, for what it is worth, gave Chanel clients exactly what they wanted, and the show being back at the Grand Palais helped up the wow factor slightly. Louis Vuittion exhibited a 1980s-inspired collection that was fun yet costume-y, though it was clear the attention to detail and dedication that was put into every piece. Balenciaga delivered some sexy yet ingenious garment designs, with the lingerie section feeling creative and fresh, yet after the collection felt derivative of previous seasons.

Chanel
(Virgile/Gamma-Rapho via Getty Images)

In his latest collection for Saint Laurent, creative director Anthony Vaccarello paid his most direct tribute yet to the brand’s founder, Yves Saint Laurent. Vaccarello played with gender ideals and the exploration of femininity and sex by dealing with two womenswear poles: the ultra-femme and the androgynous. The collection featured oversized suits, ties, and blazers alongside figure-hugging, luxurious dresses, all rendered in seductive, smooth tones that honoured the archetypal Saint Laurent woman. The shows notes read that, “the Saint Laurent woman loves to indulge in darker penchants (and has) an attraction to danger and pleasure.” This exploration of sensuality and the complex, multifaceted Saint Laurent muse resulted in what many consider Vaccarello’s strongest collection during his eight-year tenure at the house. Fashion critics even remarked that it was a collection Yves Saint Laurent himself might have designed—a testament to Vaccarello’s unwavering commitment to both preserving and reinventing the brand’s legacy.

One of the most talked-about brands this Fashion Week was undoubtedly Valentino, with Alessandro Michele, the former creative director of Gucci, unveiling his debut collection for the Roman house. The fashion world was eager to see whether Michele—known for his distinct maximalist style at Gucci—could create something that felt uniquely Valentino, or if the collection would blur the lines between the two fashion houses. The result was neither, but rather a show that felt quintessentially Michele, who admitted backstage, “I can’t help being myself.” Critics were divided, with some arguing that a designer’s role is to adapt to the aesthetic of the maison they are working for, and that this collection leaned too much towards Michele’s own sensibilities and not enough towards Valentino. Regardless of that debate, the collection was undeniably a stunning display of design, featuring bold, floor-sweeping gowns, tuxedos, dressing gowns, and fringe dresses. Michele did pay homage to the Valentino archives, incorporating the brand’s iconic Valentino red along with signature elements like ruffles and polka dots, giving the collection a vintage-inspired touch.

Valentino
Stéphane Cardinale/Corbis via Getty Images

Coperni was the last show of Paris Fashion Week, and thus the whole season. Set at Disneyland Paris, it was a fantastical, character-inspired collection that ended up being a highlight of the week. Kylie Jenner closed out the Spring/Summer 2025 season in a voluminous black ball gown, replete with fireworks overhead. Whilst the industry’s future is bleak and uncertain, the brilliant, larger-than-life end at Disneyland reminded crowds of the magic of fashion, whilst the collections described here showed that designers still have much to offer, and, for the most part, are willing to change with the times too.