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Which got me thinking: Are brands as engaged as they should be with the times we live in?
Willy Chavarria did so in New York, in what was for me the most moving show of the season, a show that embraced America’s diversity and breathed new, thrilling life into the usual uniforms. Designers, sensitive as they are, tapped into a general sense of dread and anxiety; one of Miuccia Prada’s Miu Miu collaborators declared “we’re at the end of the line” in a newspaper called The Truthless Times that was handed out in our seats. But bringing all that anxiety to the runway was impossible for many. Instead, they rallied around themes like joy (Marni), childlike wonder (Bottega Veneta, Loewe), and algorithm-defying individuality (Prada, Valentino, Louis Vuitton).
Nicolas Ghesquière says he wants to create pieces you can’t name. His words keep ringing in my ears: “If you don’t take an aesthetic risk every season, you’re not playing fashion.” Aesthetic risk may be enough of a risk. What does everyone else think? Nicole Phelps
I think aesthetic risk in fashion means being free to reimagine and innovate how clothes interact with the human body, to take risks without being constrained by the rules of the market. But fashion is not art. Fashion designers deal with the physical limitations of the body, while artists
deal with the boundaries of perception. And art can be more overtly political, while fashion has become inextricably linked to the people-pleasing entertainment industry. Moreover, the rules of fashion today are dictated by large corporations, a battle of Titans that often crush small or midsized brands. How can you take aesthetic risks in this context, if you are not protected by the deep pockets of a fashionista? Also fashion prices are skyrocketing where does this come from? The answer tends to be unclear, depending on who you ask. How can a designer’s joyful message (this is the mantra of the season) be combined with the creation of a dress that costs a teacher’s monthly salary? Who would happily spend $1,000 on a white T-shirt (I won’t name names)? Is high fashion truly democratic? I wondered.
Individuality over algorithm was the message of the season, including Alessando Michele’s Valentino debut. Photo by Acielle/Style Du Monde We did it! The spring 2025 shows are done and dusted that is, with the exception of a spectacular Giorgio Armani show scheduled for midOctober in New York. As I checked the headlines about the vice presidential debate on my way to Charles de Gaulle, I was reminded of the presidential face-off during New York Fashion Week that we all rushed home to see after the Luar exploded at Rockefeller Center. It feels like a million years have passed, and a lot has happened in those days: Bombs are raining down in the Middle East, a devastating hurricane has swept 600 miles across the southern United States,
killing more than 100 people, and Austria’s far right has just won that country’s national elections, the list goes on. “Being part of Fashion Month,” Luke wrote in his Coperni review, “always feels like living in another (un)real world.” But it rarely feels that way more than this season.
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