At Rabanne, the models strutted in pumps wrapped in clear plastic, like chic see-through rain boots, protecting their fancy footwear from the Parisian drizzle—a practical touch that matched the day’s weather.
The invitation to Courrèges’ show was a sleek metal mobius strip, a subtle hint at Nicolas Di Felice’s spring collection. The concept of infinite loops was woven into the designs, where what seemed like separate pieces—like a tank dress paired with a bandeau—were actually one. Di Felice crafted these illusionary looks by creating halter-style dresses with a neck opening and a horizontal strap that wraps around the chest. Slip your head through, fasten the side snaps, and voilà—one seamless piece.
Dries Van Noten’s departure from the runway after his final men's show in June left a lasting impression, especially on his fellow designers and the many journalists who have grown to admire and wear his work over the years. Unlike the constant game of designer musical chairs, Van Noten stepping down feels more personal. While other big fashion houses are passed down to new creative directors tasked with reinventing legacies, none are trying to fill the shoes of a living founder.
Lyndon Chase’s exploration of domesticity, privacy, and those intimate "interior moments" really came through in a collection that felt like it borrowed its materials straight from home decor. The clothes seemed to challenge—or at least question—the usual codes of identity that fashion tends to reinforce. Much like furniture, the pieces started out as conventional but were twisted, manipulated, and exaggerated in a way that made them question their own existence.
