How can a fashion brand stand out in today's super-saturated, hyper-competitive market? The spring/summer 2025 collections prove that staying true to one's roots can go a long way. From Hermès elegant take on athleisure to Miu Miu amping up its off-kilter girlishness and Dolce&Gabbana paying homage to its Sicilian heritage, the runways this season certainly left behind an indelible impression.

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ECLECTIC ENERGY AT LOUIS VUITTON

This collection capped off Nicolas Ghesquière’s 10th-year celebrations at Louis Vuitton. It was an assertive reiteration of the singular aesthetic he has spent a decade establishing and honing for the Maison—one informed by both the Renaissance and Modernism, sci-fi sleekness and Eighties glamour. This season, he time travelled to the 18th century for his opening jackets with their gargantuan puffed sleeves, nipped waists and flared hips. Only his were light and moved easily, and looked cool worn with bodysuits, men’s shirts and flat leather shoes. Equally interesting were the dropped-waist tops and dresses worn with capri-length shorts, as were the doll-like chiffon shifts studded with giant cabochons. Ghesquière ended on a high note with a trio of jackets featuring the works of painter Laurent Grasso, which looked effortless and expressive worn with shredded crystal skirts.

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FLYING HIGH AT CHANEL

This collection was designed in that interim period between creative directors but the Chanel codes are so strongly established by now that the design studio managed to power on just fine, reinterpreting those codes to create a consistent, cohesive lineup that will satisfy the brand’s loyal clients. First up, tweeds, which the studio team made light and fresh by rendering them in sweet, youthful colours. Skirts were cut short or with slits for easy movement. In some looks, the jacket was fashioned into bombers, worn with shorts and platform shoes. Windowpane checks and open-work knits echo the architecture of the Grand Palais—the latter being quite a feat of craft. In the middle of the Grand Palais was a giant birdcage that recalled the one from the Vanessa Paradis commercial shot by Jean Paul Goude. The avian inspiration resulted in some of the collection’s high-flying moments, such as the bursts of bright feather prints, and the plumes—both real and the ones crafted from chiffon—that quivered delicately on capes, dresses and jackets.

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UNLADYLIKE BEHAVIOUR AT PRADA

For their spring/summer 2025 Prada outing, Miuccia Prada and Raf Simons sent out an attitude-laden collection that twisted the notions of good taste and propriety—in some cases, quite literally, with dress straps, skirt hems and shirt collars distorted into strange new forms. Sophistication with a heaping dose of subversion was the duo’s ammo this season. Shift dresses were pierced with dozens of jangling rings; knee-length skirts came with giant holes cut out of them; and pleated skirts were suspended from leather belts by metal hooks. Prada and Simons’ main goal this season was to upend expectations and conventions. In a way, the collection they presented served as a kind of resistance to algorithm-driven predictability. Mirrored and feathered cocktail dresses that would have been ultra glamorous were instead paired with technical windbreakers in raver neons. Other unlikely combos included ball skirts worn with grungy t-shirts, and mariniere knits over flapper skirts.

QUIET SEDUCTION AT HERMÈS

This had to be Nadège Vanhee’s sexiest collection for Hermès yet. While sex has also percolated on other runways, this was the most sophisticated expression of it this season. It was a master class on how the Hermès woman does sheer dressing. The collection was essentially about the lightness and warmth of summer, which got her thinking about sensuality—things that don’t just look good but feel amazing on the skin. Vanhee’s solution was sheer mesh, cut into easy, athletic silhouettes worn with the lightest of leathers. Some of the mesh trousers had zippers running down their entire sides, allowing the wearer to open them up and change their shape. The mesh also worked well as cropped shirts worn with long, lean skirts. One look that struck the polished-casual balance especially deftly was a leather bomber with a train, thrown over a mesh bralette and high-waist briefs.

POWER MOVES AT SAINT LAURENT

In his nine-year tenure at Saint Laurent so far, Anthony Vaccarello has proven that he can consistently and compellingly draw on the Yves Saint Laurent vocabulary to present a comprehensive, contemporary direction for the brand. Spring/summer 2025 marked the first time the designer has channelled Saint Laurent the man himself. Vaccarello opened with a series of sharp yet louche suits that directly referenced how the House founder used to dress in the ’70s—complete with neckties and his signature thick-framed glasses. Vaccarello broke up that mannish proposition with sweeping floor-length paisley dresses worn under leather or suede jackets, before shifting key and ending with the vibrant jewel tones that were another YSL signature, here deployed on little ruffled skirts and boxy brocade jackets.

CHIC SERENITY AT TOD'S

For his sophomore runway collection, Matteo Tamburini envisioned a journey along the Mediterranean coast, translated into a thoughtful wardrobe of elevated essentials. Titled “Artisanal Intelligence”, the collection is meant to be a celebration of the handmade in this AI-powered age. The clothes were quiet, not beholden to any grand theme which can sometimes be constricting. Instead, Tamburini served up beautifully made pieces—often in light leather—that served as an excellent showcase for the House’s “Made In Italy” credentials. There were loosely structured t-shirts in shirting fabric, worn with roomy drawstring trousers or wrap skirts; and pleated dresses that fall in soft, straight lines from the shoulders. Tailoring was easy, made up of single-breasted jackets worn either with no shirt, straight pants and flat strappy sandals; or over scuba-like zip-up tops and tights, with a swish of silk at the hip.

A VERY FRENCH EXIT AT CELINE

For his very last collection for Celine, Hedi Slimane doubled down on the bourgeois chic that became his calling card at the French label. In the past few seasons, the designer has been steadily moving away from his pandemic-era, streetwear-inflected aesthetic. Here, he closed that chapter for good with a resolutely, unabashedly ladylike collection. Slimane had the ’60s on his mind; apparent in the twinsets, skirt suits and minidresses that filled the collection. The skirt suit, in particular, was the collection’s key look—rendered in grey wool, pink tweed or houndstooth, and worn with sequinned, lace or pussybow blouses. The accessories underscored the ’60s story. Think thick black headbands stamped with the Triomphe logo, demure kitten-heeled slingbacks and boxy little top-handled bags; while jewellery included clusters of
pearls on ears and fingers.

PERFECT GEOMETRY

When the worlds of math and fashion collide, what you get is Max Mara’s spring/summer 2025 collection. Inspired by Hypatia of Alexandra, one of the earliest female mathematicians and philosophers from the 4th century, the collection tapped into the elegance of precision and translated it into impeccable tailoring with a trigonometrical twist. For instance, poplin shirts and blazers featured plenty of sharp and square shoulders, with arm cuffs that flipped back into acute angles. Meanwhile, wrap dresses and asymmetric skirts played with the idea of symmetry and highlighted once again the indisputable relationship between geometry and fashion design.

INTO THE BLUE

MCM invites you to take a plunge into the deep end with its spring/summer 2025 collection entitled “Under The Sea”. The German label presented the collection with a high-energy flash mob in the heart of Milan with dozens of dancers grooving to K-pop tunes at the Piazza del Duomo. Continuing the narrative of uncharted exploration from its previous “From Munich to Mars” collection, this season captured the beauty of the underwater world. Highlighting various aspects of the ocean, the collection opened with the theme of “Night Diving”, featuring sleek laser-cut bags inspired by fishnets and gilets crafted from neoprene and diver-style zippers. Meanwhile, “Coral Mountain” introduced brightly coloured backpacks adorned with aquatic motifs, sporty trucker shorts and Cognac Visetos bags with playful coral graphics.

MATERIAL GIRLS AT DOLCE&GABBANA

For a few seasons now, Domenico Dolce and Stefano Gabbana have been pivoting away from hype-driven trends and going back to their roots—sensuality, sizzle and a specific kind of Sicilian glamour. This season, it was front and centre, right there in the title: Italian Beauty. The collection was a tribute to the iconic blondes of cinema—the Marilyn Monroes and Grace Kellys of the world—and to their pop-culture successor, Madonna, who sat front row. The cone bras that the singer made famous in the ’80s were inspired by the bullet bras that “sweater girls” like Lana Turner and Jayne Mansfield popularised in the ’50s. Here, they jutted out of body-hugging satin sheaths or peeked from underneath trench coats and sheer dresses that resembled hosiery. Some of the pointy cups were built right into the many jackets in the show—a feat of tailoring and an ingenious way to put a distinctive spin on a ubiquitous garment.

A SENSUAL SWANSONG AT GUCCI

In what turned out to be his final runway collection for the House, Sabato De Sarno demonstrated a wider range in terms of silhouette. Where his first two womenswear shows focused on a lean, abbreviated line heavily informed by ’60s Mod aesthetics, here, he switched things up a bit. The looks that made this shift immediately clear were the opening silk dresses—fluidly draped around the body, held together by golden bamboo hardware at the throat, neck or shoulder. The other looks that crystallised that change came at the end, via five sweeping, dramatically oversized coats worn with ribbed tank tops, baggy jeans and mannish loafers. In between, the designer reiterated the codes that he established in his short time at the brand. The Ancora red that was a staple since his debut remained a constant here, deployed on fabrications that range from leather and lace to knits and cottons.

TACTILE MINIMALISM AT SPORTMAX

The Italian label pared things back to bare essentials this season, opening with a series of minimal white and cream looks. Sculptural dresses were hung from suspended collars or featured plunging V-necks, while tailoring encased sheer mesh looks. The body was a particular focal point for this collection—many looks were see-through or draped closely around the figure beneath. Trousers had pinched waistlines that stood slightly away from the body, thus drawing attention to the waist, especially when worn with bandeau tops. The collection was far from austere though, as the studio team also jazzed things up with beaded pieces that added a sense of texture and movement.

COASTAL ELEGANCE AT RALPH LAUREN

Synonymous with luxury and serenity, the Hamptons served as the location for Ralph Lauren’s spring/summer 2025 collection. Alongside the show horses that were trotting in a ring and the rows of vintage automobiles parked near the stables, the idyllic seaside town was the perfect representation of the brand’s enduring all-American heritage. Beyond quintessential eveningwear pieces that included pinstriped blazers and elegant slip dresses ideal for intimate soirees or black-tie events, a more breezy, laidback attitude underscored the collection, with buttoned-up linen shirts, whimsical crochet cover-ups and spacious raffia totes that made for a beach-ready ensemble.

IN THE TRENCHES AT BURBERRY

In his fourth runway outing for Burberry, Daniel Lee demonstrated a newfound ease which signified that he is finally settling into his role at the label. Gone were the overwrought elements that occasionally weighed down his clothes. His spring/summer 2025 collection was more direct and commercial than his previous efforts—and it was all the better for it. There was a new lightness to the way Lee took on the brand’s outdoorsy codes. The signature trench coat was slashed to the length of a moto jacket, worn with knee-length shorts; or deconstructed into flared dresses and short, swingy capes. Leather jackets were shrunken and washed to look aged, giving them an attractive worn-in feel. Anoraks came trimmed with feathers, and trousers were ventilated with full-length zippers running down each leg. The irreverent combo of oversized parkas thrown over sequinned dresses was also appealing—a look that telegraphed Brit cool and nonchalance.

COLOUR THEORY AT LONGCHAMP

Longchamp’s two-part collection for spring/summer 2025 revolves around an exuberant palette. Titled “Think Pink”, the French label’s Spring collection is rendered in various shades of this eye-catching colour—with hues swinging from soft blush to oxblood. From wardrobe staples like cropped jackets and stretch pants to glamorous eveningwear like body-length gowns and velvet suits, these pieces showcased the versatility of pink in an everyday wardrobe. Still maintaining this liveliness but not deviating from its signature Parisian flair is the Summer collection. Here, Longchamp invites one to revel in the picturesque beauty of the countryside. Apart from introducing new iterations of the brand’s iconic kimono jacket, the “Live Green” collection revamped quintessential summer staples like apron dresses and playsuits by incorporating overall-inspired straps and playful gingham prints.

GIRL INTERRUPTED AT MIU MIU

Miuccia Prada’s spring/summer 2025 collection situated the brand’s successes of the recent past within the entire Miu Miu oeuvre. All the things that have long fascinated Miuccia were here—the recontextualised uniforms and archetypes; the cool, slightly kooky minimalism of her ’90s era; the pointedly overt girlishness she subverted in the 2010s; the clashing ’70s carpet prints she loves. The show opened with a youthful cotton shift in white—the very picture of innocence, save for the sliced-open back. It was one of those seemingly simple, instinctive, gestural effects that Miuccia just excels at and which immediately added a frisson to the proceedings. Next came tank tops and sweatshirts draped and layered to look like offhandedly put-together bustier tops. Some of these were worn with gym shorts cut so high on the thigh they were basically high-waisted briefs. The look sure to send the It-girl cohort into a tizzy were the cut-out bodysuits paired with low-slung pleated leather skirts and belly chains.

COMING OF AGE AT ONITSUKA TIGER

Fashion’s fixation with youth is nothing new. Onitsuka Tiger, on the other hand, chose to focus on something far less romanticised: Growing pains. Embodying the theme of “Urban Beats”, the spring/summer 2025 collection was inspired by one’s formative years—the tumultuous yet illuminating journey of finding one’s self-expression and vulnerability amidst a buzzing metropolis. Spotlighting this pivotal transition from adolescence to adulthood, the 50-look collection referenced stylistic movements from the past and future—from ’20s flapper-inspired dresses to futuristic gorpcore influences intertwined with the brand’s streetwear staples. A subversive gender-bending aesthetic also permeated the collection with tuxedo vests layered over black lace lingerie, and cosy textured knits paired with boxy cargo shorts. Meanwhile, the versatile footwear which encompassed utilitarian sandals, sensible leather loafers and square-toe pumps elegantly toed the line between childlike wonder and grownup elegance.

ARTS AND CRAFTS AT ISSEY MIYAKE

It all clicked when creative director Satoshi Kando and his team stayed at the LOG hotel in Hiroshima. Noticing that the washi paper-covered walls had a psychologically soothing effect, Kando was compelled to explore paper not just as a static medium, but as a versatile fabric. Even before the show commenced at the serene Parc Floral de Paris, the runway set—featuring seats made from compressed paper cylinders and walls covered in crinkled white paper—invited audiences to contemplate deeper about texture and materiality. A poetic homage to paper, the show transformed the simplicity of this unlikely medium into innovative creations crafted from woven strips of washi paper combined with fibres like hemp, rayon, mohair and cotton, resulting in textures ranging from airy and fluid to strong and supple.

MATCH POINT AT LACOSTE

Sportswear is baked into the very DNA of the brand—founder René Lacoste was after all, a renowned tennis champion before he pivoted to clothing—and this season, creative director Pelagia Kolotouros looked to reconcile that athletic heritage with contemporary fashion sensibilities. She landed on a compelling mix of elevated athleisure and relaxed tailoring. Think body-hugging polos worn with tailored shorts, or ultra-light trench coats in a techy parka material worn with boxer-like gym shorts. Tennis dresses came cinched and structured on top, and soft and pleated below. Other standouts include polos reinterpreted as sheer blouses embroidered with tennis rackets, the brand’s signature crocodile logo blown up as an abstract print, and a lemon-yellow shift with geometric patterns that evoked both tennis courts and Art Deco motifs.

SUIT YOURSELF AT BOSS

Suiting received a springtime refresh in the latest BOSS collection. The brand, known for its impeccably sharp tailoring, took a softer approach this season—which translated into both the light, unstructured pieces that were shown on the runway, and the new louche attitude with which the models wore them. In recent seasons, BOSS has leaned hard into the gorpcore-office-wear-but-make-it-cool aesthetic. This time around, the brand envisioned the lives of the BOSS man and woman outside the 9-to-5 grind. The collection was simply and aptly titled “Out of Office”, and its key piece was the three-button suit in lightweight fabrics, constructed without shoulder pads or stiff interior workings. For the first time on a BOSS runway, sporty elements played a major role, amplifying the relaxed vibe of the tailoring. There were rolled-up yoga mats and tennis racket bags slung over the models’ shoulders; sneakers were stuffed into their work bags. Otherwise corporate-looking shirts had zippers instead of buttons, while trousers and blousons came with drawstrings to create a more athletic silhouette.

SPORTY SPICE AT DIOR

Athleticism was still on Maria Grazia Chiuri’s mind—she tackled the theme in her June fall/winter 2024 couture show, and she returned to it for spring/summer 2025. It also carried echoes of her very first Dior collection with its reference to fencing. This time around, it was archery—underlined by the presence of Italian archer and artist SAGG Napoli in the show space, shooting arrows at a target while the models walked. Chiuri showed asymmetric bodysuits with one shoulder exposed, followed by tailoring cut in the same way. There were also softly draped dresses that were Chiuri’s modern update on the Grecian peplos. They were worn with gladiator shoes and sandals. For her Dior logo of the season, she took an archival one from the ’70s, slimmed it down and extended it to look like racing stripes. It looked good running down the sides of athletic mesh dresses, tunics and track pants.