CELINE – READY TO WEAR 

Michael Rider presented his striking debut collection as Creative Director of CELINE, marking a powerful return to the house. “Coming back has been incredibly emotional for me. And a complete joy,” he shared. Under his vision, CELINE reasserts its core values: quality, timelessness, and style – elusive concepts, often spoken about but rarely embodied with such clarity. Rider and his team worked to translate these ideals into a wardrobe that reflects attitude as much as identity. “I’ve always loved the idea of clothing that lives on,” he says, pieces that resonate beyond a single season, becoming part of a life, a memory, a history. 

With this first collection, Rider manages to capture both the utility and the fantasy of fashion – the now, the past, and what’s still to come.

SCHIAPARELLI – BACK TO THE FUTURE

Daniel Roseberry’s latest collection for Schiaparelli blurs the boundaries between past and futurism with a haunting black-and-white palette. Inspired by Elsa Schiaparelli’s departure from Paris in 1940, the collection reimagines a world on the edge, poised between elegance and upheaval. Gone are corsets; in their place, sculptural silhouettes and surrealist trompe l’oeil textures evoke both restraint and release.

The entire show can be conceived as a surrealist trompe l’oeil, from the makeup to the fabrics, and fantasy pieces that dazzle: A reworked “Apollo” cape in black diamanté starbursts, a 3D-embroidered “Squiggles and Wiggles” dress, and the dreamlike “Eyes Wide Open” gown with iris cabochons and a silk tulle train.

“It’s too easy to romanticize the past. It’s too easy to fear the present,” say the show’s notes. This is couture that resists nostalgia, asking instead how archival memory can shape a post-technological future: One free of screens, shaped by hands, and grounded in imagination.

GEORGES HOBEIKA – THE NEW ORDER

Georges Hobeika is presenting its newest collection „The New Order“ This Bezeichnung is wegweisend in the presentation. In heavy and uncertain times we are gifted a momentum of stillness by reminding us of true craftsmanship  while Beauty agiert as a werkzeug to create and resell.

The collection is finding its roots in elegance while boldly staying true to tradition and its ambiguity between weakness and strength. While masterfully honoring Couture Fashion and adding value to it, the pieces stand out as individuals – grounded and resolute. 

After 30 years of existence the House of Georges Hobeika shows once again how true couture is desirable, timeless and never not relevant. 

RAHUL MISHRA – BECOMING LOVE

In Sufism, love grows through seven steps: attraction, infatuation, letting go, respect, devotion, obsession, and finally, the loss of self into something bigger. It starts gently and grows until there’s only stillness.This collection traces that journey. The clothes flow like lines in a love story, inspired by Gustav Klimt’s art and brought to life with traditional Indian embroidery. Rahul Mishra’s team of almost 2000 fashion workers uses age-old techniques with silk threads, pearls, beads, and sequins on fine fabrics like organza, tulle, velvet, and satin. Every piece is shaped by careful metalwork too. Each garment honors slow, skilled work and the people behind it, sharing India’s artistry with the world.

CHANEL – FALL-WINTER 25/26 HAUTE COUTURE 

With this collection, CHANEL invites us to wander through a refined pastoral dream. Staged in the Salon d’Honneur at the Grand Palais and envisioned by Willo Perron, the show recalls the quiet elegance of Gabrielle Chanel’s salons at 31 rue Cambon. Inspired by the fresh breeze of English countrysides and Scottish moors, the garments consist of reimagined winter classics through a lens of freedom and natural harmony, featuring natural shades of ecru, ivory, brown, green and black. 

Tweed is, of course, a central element: Transformed into featherlight mohair, bouclé mimicking sheepskin, and illusionary faux fur. Soft, earthy hues in ecru, green, plum, and black echo the landscape’s palette. Wheat motifs, long symbolic of abundance in Chanel’s lexicon, are woven into chiffon, buttons, and embroidery, while floral details and gilded lace nod to the sunlight breaking through grey skies.

At the end, the cold English day turns into sunlight, magnifying its reflections with jewel-buttons, embroidery, gold and silver ennobled lace and a flounced dress in orange tones lamé. This is couture rooted in nature, crafted with clarity and emotion, basically modern feminine elegance with room to breathe. 

ROBERT VAN DER KEMP – THE CALL OF THE WILD

Robert van der Kemp forms a personal homage to nature and human craftsmanship with his haut couture collection the Call of the Wild. In Collaboration with a collective of Brazilian Indigenous artisans and friend Thayná Caiçara and inspired by the lush vibrancy of the Amazon rainforest and its winged inhabitants, the collection evokes the beauty of both Earth’s flora and fashion’s flamboyant. Materials are reimagined: discarded fabrics become majestic corsets, jungle-dyed silks, sculptural plissés, and art collages stitched from feathers, beads, trinkets, and memories. Each of the 32 looks stands as a one-of-a-kind creation.  Telling stories through the act of upcycling and celebrating of real-world beauty and resilience.In an era of excess, RVDK reminds us that luxury can be ethical, rebellious, and radiant. A couture that’s transforming the discarded into the divine.

GIORGIO ARMANI PRIVÉ – NOIR SÉDUISANT

Far from being monotonous, black offers an entire spectrum of nuances and possibilities while seemingly only being one shade. Giorgio Armani has always been drawn to it, as it represents synthesis, graphic purity that transforms every silhouette into a timeless mark. In this collection, the designer captures black’s most elegant, nocturnal, and seductive side, while once again exploring the dialogue between masculine and feminine.

Introduced by fluid garments with vivid embroidered accents, black takes the runway in a series of reinterpretations of the tuxedo and tailcoat, in sculptural jackets worn on bare skin or blazers styled with a white shirt, bow tie, and slim-fit trousers. Graced by black reoccurring hats, the models do look like they came straight out of classic and elegant fashion illustrations.

ROBERT WUN – BECOMING

Robert Wun makes a powerful statement with his Fall/Winter 2025 collection, Becoming. This body of work is an ode to the quiet, often unseen ritual of getting dressed. Those delicate moments when we shift from private to public, gathering courage as each layer goes on. Inspired by the beauty of the incomplete and the almost-ready, Wun plays with unfinished edges and fluid shapes that echo the in-between space of transformation. Becoming is more than clothing; it’s an emotional narrative about how what we wear shapes who we are on life’s significant days. With masterful cuts and thoughtful storytelling stitched into every look, Robert Wun invites us to witness not just fashion, but the deeply human act of becoming something new.

VICTOR & ROLF – ANGRY BIRDS

Victor & Rolfs newest collection reinterprets the concept behind their FW98–99 show: presenting two versions of the same garment, yet never revealing the same silhouette. Each set was shown first as an exaggerated form, stuffed with colorful faux feathers, followed by its raw counterpart, leaving an aftertaste of luxury and fantasy.

The feathers, symbols of wealth and refined taste, are not mere accessories here, but architectural elements, essential in sculpting the couture silhouettes and in exploring the tension between presence and absence.

„Angry Birds“ offers us exuberant spectacle followed by its softened shadow. The show serves as a powerful reminder that quietness and exaggeration can not only coexist but also elevate each other’s beauty.

MAISON MARTIN MARGIELA – ARTISANAL COLLECTION 2025

Glenn Martens presents a deeply architectural and art-historic collection for Maison Margiela, drawing on the gothic verticality and sculptural austerity of medieval Flanders and the Netherlands. The show was held in le Centquatre, which reflects the approach of archaic times and atmosphere. Of course, also the garments took deep inspiration from Gothic structures such as towers or saintly figures of church facades and also draped fabrics that create optical illusions and elongations of the physique. 

With reinterpretations of flemish floral leather wallpapers and Dutch still life paintings as overlays, embossed fabrics or 3D collages, this narration is continued. Brushstroke-inspired trompe l’œil pieces nod to Symbolist painter Gustave Moreau, while lace and veiled drapery mimic skin and marble sculpture. As for materials, the house went to vintage leather, costume jewellery, plastic and even metal boxes, that are transformed into couture details and face coverings. The iconic Tabi boot is reborn with claw toes and wedge plastic sandals. 

Set against palatial paper collages and a deconstructed Smashing Pumpkins soundtrack, the show is a haunting, tactile reflection on art, memory, and metamorphosis.

RAMI AL ALI – GUARDIANS OF LIGHT

Marking a historic debut on the official Paris Haute Couture Week calendar, Syrian-born, UAE-based designer Rami Al Ali unveils Guardians of Light – The Living Craft of Damascus, a powerful and personal ode to heritage and artistry.

Rami Al Ali’s couture vision is steeped in the rich visual language of Damascus: Courtyards, painted ceilings, and mother-of-pearl inlay, rendered in brocade, sequin, and hand-embroidery. Drawing from the carved wood of Al-Azm Palace and the geometric harmony of Khan As’ad Pasha, Rami Al Ali reimagines the quiet grandeur of Damascus in couture form. Historic homes like Bayt Nizam and Bayt Farhi inspire silhouettes where memory becomes material: brocades gleam with embroidery, sequins echo Iznik tiles, and beading reflects mother-of-pearl inlay. Each piece is a talisman, each veil a whispered verse, an ode to heritage, elevated through the craft of couture.

This is not nostalgia, it is a reclamation of craftsmanship as living heritage and guardianship of that more so. With his debut, Al Ali assumes the role of designer and guardian, bringing Syria’s artistic soul into the haute couture conversation with quiet power and grace.

GERMANIER – LES JOUEUSES

„Les Joueuses“ is Kevin Germanier’s way of serving bold looks while playfully inviting us to forget about hard times. The garments are full of polka dots, leopard prints, stripes and certainly not lacking in color.

The show is set against a backdrop of brightly shining balloons, enhancing the celebration of play, color, and the endless possibilities of imagination. Beyond the visual satisfaction, the set once again reflects Germanier’s commitment to sustainability: the balloons were previously rejected due to flaws, feathers were recycled from past collections, and the entire set design will be reborn next season, fully upcycled into sequins.

Germanier’s latest collection marks a clear step outside of his comfort zone. It’s vibrant, full of light and joy, while true craftsmanship is evident in every piece. You can truly feel the designer’s deeply rooted desire to redefine couture — while staying true to the essence of Germanier.