The Return of High Fashion
By Isabella Redjai · 15 April 2025
The Signs of the Times: On the ground for Paris Fashion Week Spring 2025
There are various ways one can track the health of a culture, from censuses to BMI, to the stock market, but one metric that is especially illuminating in its power to tell the story of an era’s values is fashion.
When God designed the first outfit and tailored Adam and Eve in animal skins, it signified that sin had now tainted the world. And when Balenciaga Creative Director Demna presented his infamous “duvet coat” at Paris Fashion Week in 2016, it told us that anything could now be considered high “fashion”.
Amidst global economic uncertainty, wars, and rumors of wars, last month’s Spring 2025 Paris Fashion Week, which I attended on assignment, also told a story about where Western culture now stands. Fashion has always been aspirational—runways are not only shop windows for clothing, but theaters for ideals, defining the silhouettes and styles that will later trickle down to the mass market. At its centre is an essential human impulse: the desire to be chosen, to rise above the crowd and join a fashionable elite.
But in an age of mass democratization in which anyone with a phone can become a curator, a commentator, or even a brand, gatekeepers have lost power. Influencers now bypass traditional channels, building audiences, accessing designers, and attending shows without earning the blessing of fashion’s old guard.
There are various ways one can track the health of a culture, from censuses to BMI, to the stock market, but one metric that is especially illuminating in its power to tell the story of an era’s values is fashion.
When God designed the first outfit and tailored Adam and Eve in animal skins, it signified that sin had now tainted the world. And when Balenciaga Creative Director Demna presented his infamous “duvet coat” at Paris Fashion Week in 2016, it told us that anything could now be considered high “fashion”.
Amidst global economic uncertainty, wars, and rumors of wars, last month’s Spring 2025 Paris Fashion Week, which I attended on assignment, also told a story about where Western culture now stands. Fashion has always been aspirational—runways are not only shop windows for clothing, but theaters for ideals, defining the silhouettes and styles that will later trickle down to the mass market. At its centre is an essential human impulse: the desire to be chosen, to rise above the crowd and join a fashionable elite.
But in an age of mass democratization in which anyone with a phone can become a curator, a commentator, or even a brand, gatekeepers have lost power. Influencers now bypass traditional channels, building audiences, accessing designers, and attending shows without earning the blessing of fashion’s old guard.
Implicitly threatened by this new culture, Paris Fashion Week is doubling down on what once made it untouchable: exclusivity. In a world where everyone can participate, it questions whether mass participation doesn’t cheapen the product.
There are various ways one can track the health of a culture, from censuses to BMI, to the stock market, but one metric which is especially illuminating in its power to tell the story of an era’s values, is fashion.
When God designed the first outfit and tailored Adam and Eve in animal skins, it signified that sin had now tainted the world. And when Balenciaga Creative Director Demna presented his infamous “duvet coat” at Paris Fashion Week in 2016, it told us that anything could now be considered high “fashion”.
Amidst global economic uncertainty, wars, and rumors of wars, last month’s Spring 2025 Paris Fashion Week, which I attended on assignment, also told a story about where Western culture now stands. Fashion has always been aspirational—runways are not only shop windows for clothing, but theaters for ideals, defining the silhouettes and styles that will later trickle down to the mass market. At its centre is an essential human impulse: the desire to be chosen, to rise above the crowd and join a fashionable elite.
But in an age of mass democratization in which anyone with a phone can become a curator, a commentator, or even a brand, gatekeepers have lost power. Influencers now bypass traditional channels, building audiences, accessing designers, and attending shows without earning the blessing of fashion’s old guard.
Implicitly threatened by this new culture, Paris Fashion Week is doubling down on what once made it untouchable: exclusivity. In a world where everyone can participate, it questions whether mass participation doesn’t cheapen the product.
This year, access to the runway shows was drastically scaled back, with only a handful of A-list guests: Hailey Bieber, Chloë Sevigny, and of course, the imperious Vogue Global Editor-in-Chief Anna Wintour. And for those hoping to buy their way in? A ticket would set you back a cool $50,000.
The catwalk shows were equally strident. Saint Laurent’s Fall 2025 Ready-to-Wear collection, under the direction of Anthony Vaccarello, channeled the unapologetic power dressing of the ’80s and ’90s. Sharp shoulder pads, razor-cut tailoring, and a bold palette—orange, purple, hot pink, yellow, lime green—evoked the high-stakes glamour of capitalism at its purest: aggressive, ambitious, and unmistakably high-earning.
Saint Laurent’s Fall 2025 Ready-to-Wear collection
Implicitly threatened by this new culture, Paris Fashion Week is doubling down on what once made it untouchable: exclusivity. In a world where everyone can participate, it questions whether mass participation doesn’t cheapen the product.
This year, access to the runway shows was drastically scaled back, with only a handful of A-list guests: Hailey Bieber, Chloë Sevigny, and of course, the imperious Vogue Global Editor-in-Chief Anna Wintour. And for those hoping to buy their way in? A ticket would set you back a cool $50,000.
The catwalk shows were equally strident. Saint Laurent’s Fall 2025 Ready-to-Wear collection, under the direction of Anthony Vaccarello, channeled the unapologetic power dressing of the ’80s and ’90s. Sharp shoulder pads, razor-cut tailoring, and a bold palette—orange, purple, hot pink, yellow, lime green—evoked the high-stakes glamour of capitalism at its purest: aggressive, ambitious, and unmistakably high-earning.
This year, access to the runway shows was drastically scaled back, with only a handful of A-list guests: Hailey Bieber, Chloë Sevigny, and of course, the imperious Vogue Global Editor-in-Chief Anna Wintour. And for those hoping to buy their way in? A ticket would set you back a cool $50,000.
The catwalk shows were equally strident. Saint Laurent’s Fall 2025 Ready-to-Wear collection, under the direction of Anthony Vaccarello, channeled the unapologetic power dressing of the ’80s and ’90s. Sharp shoulder pads, razor-cut tailoring, and a bold palette—orange, purple, hot pink, yellow, lime green—evoked the high-stakes glamour of capitalism at its purest: aggressive, ambitious, and unmistakably high-earning.
In a global economy currently experiencing major volatility in world markets, this throwback to Wall Street aesthetics felt both ironic and intentional. Vaccarello wasn’t alone—Stella McCartney’s Paris Fashion Week show placed guests inside mock office cubicles labeled “Stella Corp,” a satirical nod to corporate culture and its aesthetic influence. The romanticization of finance—dubbed the “finance bro formula” by InStyle—intimates a seismic shift: fashion now means business. And streetwear? It’s officially laid off.
Fashion, like society, is shifting. We’re moving away from the ethos of leisure and relatability, and back toward aspiration and ambition.
The informality of street style—largely popularized by the late Virgil Abloh during his tenure at Louis Vuitton Men’s, and also by Kanye West, in their collaboration on Yeezy—until recently reigned supreme in luxury fashion. From 2016 to around 2022, oversized hoodies, athletic sneakers, graphic tees, and sweatpants were everywhere. Deliberately blurring the lines between high fashion and mass market, the aesthetic fed into a global homogenous monoculture rooted in ease—effortless, perhaps to a fault.
But fashion, like society, is shifting. We’re moving away from the ethos of leisure and relatability, and back toward aspiration and ambition. In today’s climate, survival of the fittest isn’t just a metaphor—it’s a dress code. And here again, the rule applies: dress for the job you want, not the one you have.
Embracing aristocratic tastes was considered an aesthetic faux pas in an era that valued relatability over opulence. But as financial instability, inflation, and economic uncertainty continue to weigh on the planetary psyche, the value of luxury has once again eclipsed the need to fit in.
Schiaparelli Fall/Winter 2025-2026 Collection
Schiaparelli's Fall/Winter 2025-2026 collection
In this climate, fashion house Schiaparelli has never been more extravagant—or more assured in its grandeur. Under the creative direction of Daniel Roseberry, Schiaparelli has leaned into its legacy of theatrical elegance, using fashion as a vehicle for high art. The Fall/Winter 2025-2026 collection was a masterclass in craftsmanship: embossed silk and leather evoked royal tapestries, while exaggerated shoulders and corseted silhouettes nodded to historic European court dress. Gold chainmail, snakeskin textures, mosaic-like gowns, and heavy gilded jewelry transformed the runway into a tableau of excess and ornate refinement.
Yet amid this opulence, there was an unexpected twist. By incorporating rope-like details, animal-skin motifs, and textures reminiscent of the American Southwest, the collection fused old-world royalty with rugged modernity. It was a reminder that today’s luxury doesn’t have to wear an ego—it can also wear an edge. In Schiaparelli’s hands, decadence becomes a kind of frontier: bold, adventurous, and sovereign.
This spirit of adaptability—a readiness for action—has emerged as a defining theme across several forthcoming collections, mirroring the volatility of our global moment: in uncertain times, be prepared for anything.
As the wars in Israel and Ukraine continue to dominate international discourse, fashion has not retreated, but rather recalibrated to serve new purposes. Ukrainian label Litkovska, featured on the official Paris Fashion Week schedule, presented a collection that felt both poignant and pragmatic. Wool coats, tailored office wear, and denim pieces all carried a modular, multi-functional design—each garment adaptable depending on how the wearer chose to style or utilize it. The message was clear: versatility isn’t just aesthetic, it’s a survival tool.
Combining both art and architecture with every thread, and intellectual values in the story that it tells, fashion has always served as a meter of, not what a generation is, but what a generation wishes to become.
In an era marked by scarcity and instability, the idea of investing in a single piece that can transform based on need feels both forward-thinking and deeply grounded. It’s a quiet rebellion against fashion’s usual consumption—a design philosophy born not from trend, but necessity.
Amid the masculine energy dominating Paris Fashion Week—motifs of competition, wealth, and a readiness for conflict—perhaps the most striking juxtaposition was the enduring desire for femininity.
In this climate, fashion house Schiaparelli has never been more extravagant—or more assured in its grandeur. Under the creative direction of Daniel Roseberry, Schiaparelli has leaned into its legacy of theatrical elegance, using fashion as a vehicle for high art. The Fall/Winter 2025-2026 collection was a masterclass in craftsmanship: embossed silk and leather evoked royal tapestries, while exaggerated shoulders and corseted silhouettes nodded to historic European court dress. Gold chainmail, snakeskin textures, mosaic-like gowns, and heavy gilded jewelry transformed the runway into a tableau of excess and ornate refinement.
Yet amid this opulence, there was an unexpected twist. By incorporating rope-like details, animal-skin motifs, and textures reminiscent of the American Southwest, the collection fused old-world royalty with rugged modernity. It was a reminder that today’s luxury doesn’t have to wear an ego—it can also wear an edge. In Schiaparelli’s hands, decadence becomes a kind of frontier: bold, adventurous, and sovereign.
This spirit of adaptability—a readiness for action—has emerged as a defining theme across several forthcoming collections, mirroring the volatility of our global moment: in uncertain times, be prepared for anything.
As the wars in Israel and Ukraine continue to dominate international discourse, fashion has not retreated, but rather recalibrated to serve new purposes. Ukrainian label Litkovska, featured on the official Paris Fashion Week schedule, presented a collection that felt both poignant and pragmatic. Wool coats, tailored office wear, and denim pieces all carried a modular, multi-functional design—each garment adaptable depending on how the wearer chose to style or utilize it. The message was clear: versatility isn’t just aesthetic, it’s a survival tool.
In an era marked by scarcity and instability, the idea of investing in a single piece that can transform based on need feels both forward-thinking and deeply grounded. It’s a quiet rebellion against fashion’s usual consumption—a design philosophy born not from trend, but necessity.
Combining both art and architecture with every thread, and intellectual values in the story that it tells, fashion has always served as a meter of, not what a generation is, but what a generation wishes to become.
Amid the masculine energy dominating Paris Fashion Week—motifs of competition, wealth, and a readiness for conflict—perhaps the most striking juxtaposition was the enduring desire for femininity.
Even Saint Laurent’s power-dressing lineup, rooted in businesswear, was softened by elegant floor-length dresses with fluid silhouettes, occasionally toughened with a leather jacket slung over the shoulders. At Chloé, Creative Director Chemena Kamali embraced a romantic, ethereal aesthetic for Fall 2025, with airy blouses, flowing sheer skirts, and soft shades of peach and baby pink. Paired with fur trims, oversized leather belts, and rock-inspired jackets, the collection struck a perfect balance between boho goddess and rebellious muse.
Even Saint Laurent’s power-dressing lineup, rooted in businesswear, was softened by elegant floor-length dresses with fluid silhouettes, occasionally toughened with a leather jacket slung over the shoulders. At Chloé, Creative Director Chemena Kamali embraced a romantic, ethereal aesthetic for Fall 2025, with airy blouses, flowing sheer skirts, and soft shades of peach and baby pink. Paired with fur trims, oversized leather belts, and rock-inspired jackets, the collection struck a perfect balance between boho goddess and rebellious muse.
Even Saint Laurent’s power-dressing lineup, rooted in businesswear, was softened by elegant floor-length dresses with fluid silhouettes, occasionally toughened with a leather jacket slung over the shoulders. At Chloé, Creative Director Chemena Kamali embraced a romantic, ethereal aesthetic for Fall 2025, with airy blouses, flowing sheer skirts, and soft shades of peach and baby pink. Paired with fur trims, oversized leather belts, and rock-inspired jackets, the collection struck a perfect balance between boho goddess and rebellious muse.
But it was Sarah Burton’s debut for Givenchy’s Fall/Winter 2025-2026 collection that delivered the most unexpected statement: a mini dress crafted entirely from powder compacts and puffs. Playfully echoing society’s current obsession with beauty products, in Burton’s hands, femininity and beauty—so often dismissed as frivolous—became sculpture, performance, and ultimately, art.
Givenchy’s Powder Compact Dress
But it was Sarah Burton’s debut for Givenchy’s Fall/Winter 2025-2026 collection that delivered the most unexpected statement: a mini dress crafted entirely from powder compacts and puffs. Playfully echoing society’s current obsession with beauty products, in Burton’s hands, femininity and beauty—so often dismissed as frivolous—became sculpture, performance, and ultimately, art.
Combining both art and architecture with every thread, and intellectual values in the story that it tells, fashion has always served as a meter of, not what a generation is, but what a generation wishes to become. Perhaps as a reaction to the uncertainties across the world stage, it seems that fashion and its audiences want to run toward the fire and not away.
The return to exclusivity, the romanticization of corporate aesthetics, the shift from streetwear’s laid-back egalitarianism to sharp tailoring and high-gloss ambition, and the embrace of femininity, all point to a culture recalibrating its values. Crashing markets can only be met with an attitude to work twice as hard and look twice as good; war abroad reminds us to be ready at all times and remain agile; exclusive opportunities push us to set ourselves apart; luxury is no longer out-of-touch and embarrassing but desirable and rebellious; and even while practicing this mental strength perhaps the feminine silhouettes through it all, remind us that we must also remain soft and unjaded.
Combining both art and architecture with every thread, and intellectual values in the story that it tells, fashion has always served as a meter of, not what a generation is, but what a generation wishes to become. Perhaps as a reaction to the uncertainties across the world stage, it seems that fashion and its audiences want to run toward the fire and not away.
The return to exclusivity, the romanticization of corporate aesthetics, the shift from streetwear’s laid-back egalitarianism to sharp tailoring and high-gloss ambition, and the embrace of femininity, all point to a culture recalibrating its values. Crashing markets can only be met with an attitude to work twice as hard and look twice as good; war abroad reminds us to be ready at all times and remain agile; exclusive opportunities push us to set ourselves apart; luxury is no longer out-of-touch and embarrassing but desirable and rebellious; and even while practicing this mental strength perhaps the feminine silhouettes through it all, remind us that we must also remain soft and unjaded.
