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Fashion Week Brings Another Layer of Chaos to Paris

Pharrell Williams returns a year after his lavish debut as Louis Vuitton creative director. JULIEN DE ROSA / AFP
Pharrell Williams returns a year after his lavish debut as Louis Vuitton creative director. JULIEN DE ROSA / AFP
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Fashion Week Brings Another Layer of Chaos to Paris

Pharrell Williams returns a year after his lavish debut as Louis Vuitton creative director. JULIEN DE ROSA / AFP
Pharrell Williams returns a year after his lavish debut as Louis Vuitton creative director. JULIEN DE ROSA / AFP

Paris Fashion Week returns on Tuesday, bringing some much-needed light relief to a country in the throes of political chaos.
Menswear week runs until next Sunday, followed immediately by the haute couture shows until June 27.
France has been in turmoil since President Emmanuel Macron called surprise legislative elections after a surge by the far-right in European polls, said AFP.
But for fashionistas, the biggest issue might be getting around Paris, which is also finalizing preparations to host next month's Olympic Games, with a tenfold increase in traffic congestion due to road and site closures.
The Olympics have brought the menswear and couture weeks forward from July (womenswear takes place in September).
With fashion already working at a punishing pace, that has forced some houses to abandon this season, including Olivier Rousteing's Balmain, which told AFP it had pulled out at the last minute.
Valentino and Givenchy are also skipping this week's shows.
As for the big names who are appearing, hip-hop mogul Pharrell Williams will continue his high-profile leadership at Louis Vuitton, marking a year since his ultra-lavish debut show when he took over the Pont Neuf bridge and painted its paving stones gold.
But the highlight will be a mega-party organized by Vogue on Sunday bringing together the doubly lucrative worlds of sports and fashion.
It is the third edition of Vogue World -- a sort of traveling Met Gala that has already seen events in New York and London -- and comes as the brand seeks new ways to stay relevant in a world of dwindling magazine sales.
Several top brands will display collections, including Dior, Jacquemus, Hermes and Balenciaga, each paired with an Olympic discipline from athletics to breakdancing.
Chanel shock
There have been some big movements at the heads of fashion houses.
The biggest shock was the announcement last week that Chanel has dropped Virginie Viard, who worked for 20 years alongside her predecessor Karl Lagerfeld and took over after his death in 2019.
It appears the split was less than amicable, since Viard will not be present for Chanel's couture show on June 25, despite overseeing record sales for the brand last year.
"It will be a studio collection and Virginie Viard will not be present," a Chanel spokesperson told AFP.
The end of the Lagerfeld era has set off fashionistas' favorite pastime: speculating on who comes next.
Among the names circulating: France's Marine Serre, Hedi Slimane of Celine, Pierpaolo Piccioli (who recently left Valentino) and Simon Porte Jacquemus, whose eponymous label has been one of the big independent success stories of recent years.
While Valentino awaits the debut of its high-profile new creative director Alessandro Michele (formerly of Gucci), Givenchy is still looking for a lead designer since the departure of Matthew Williams last year.
This week will also see the final show by Belgian designer Dries Van Noten on Saturday.
Though not a household name, the 66-year-old is retiring as a favorite among serious fashion fans for his avant-garde styles and expert tailoring.

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Fashion

Kamali's Sophomore Show for Chloé in Paris Dazzled with Lightness

Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
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Kamali's Sophomore Show for Chloé in Paris Dazzled with Lightness

Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)

Chemena Kamali’s sophomore collection for Chloé was a luminous exploration of femininity, blending the house’s heritage with a fresh, sensual energy for spring. Set against a backdrop of sun-faded apricots, blushes and soft whites, the Paris collection captured Kamali’s vision of a summer that she surmised as: “when you pause, escape, explore and recharge.” It celebrated Chloé’s free-spirited DNA, infused with a lightness that felt both nostalgic and forward-looking.
According to The Associated Press, here are some highlights of Thursday's shows at Paris Fashion Week, including a French honor for Naomi Campbell:
Kamali's joyful freedom “There’s a liberating expression of total freedom,” Kamali said of her spring display.
This freedom flowed through silk charmeuse gowns, lingerie-inspired crop tops and peek-a-boo designs.
Echoes of Karl Lagerfeld’s '70s Chloé lingered in exaggerated shoulders and standout pieces, like a loose-fitting, vivid blue coat. “Chloé is not a passing moment; it’s an eternal state of mind,” Kamali noted, grounding her collection in the house’s long-standing ethos of optimism and instinct.
Layering played a central role, but Kamali kept it light and intuitive, reflecting what she called a “very personal way of dressing.” Sheer fabrics and sun-worn lace mixed effortlessly with ribbed jerseys, creating looks that felt weightless and spontaneous, a signature of Kamali’s debut collection. “What matters to me is the feeling and intuition,” she said.
A standout moment came in the form of a dramatic trapeze-shaped silk gown, its dynamic silhouette swirling with movement. It epitomized Kamali’s ability to honor Chloé’s romantic roots while infusing a modern sensibility. “The mood is light, weightless, sensual and joyful,” she explained. That joyful freedom was a defining thread from start to finish.
With her second outing, Kamali proved she is the right designer to lead Chloé. She crafted a spring collection that balanced nostalgia and sensuality while pushing the house toward a bright, optimistic future.
Mugler’s Cadwallader takes a bite at fashion

Casey Cadwallader delivered a striking show for Mugler, equal parts theatrical and innovative. The hair, sculpted into harsh fringes like a viper’s fang, set the tone for a collection defined by sharp architectural lines. Curving lapels adorned tight jackets, while tendrils of latticed silk flowed into skirts that bled vibrant yellows, creating a visual spectacle.
The collection boldly embraced femininity, featuring a bust that echoed the form of seashells and a densely packed bustier resembling a diving whale. This daring aesthetic aligns with Cadwallader’s aim to infuse the brand with a fresh energy, moving away from the extravagance that some original Mugler fans long for.
Oversized tubular arms complemented a webbed skirt-coat, while a transparent loose trench evoked the look of a sea medusa, reinforcing Cadwallader’s commitment to pushing boundaries.
Naomi Campbell honored in France amid charity controversy

Iconic British model Naomi Campbell was awarded a prestigious honor in France, being named a knight in the Order of Arts and Letters at the culture ministry for her significant contributions to French culture.
However, this recognition comes as Campbell faces scrutiny back home, having been barred from serving as a charity trustee in England and Wales for five years. This decision follows a three-year investigation into the financial activities of her charity, “Fashion for Relief,” which was found to have been “poorly governed” and lacking in “adequate financial management.”
The Charity Commission, which oversees charities in England and Wales, reported multiple instances of misconduct, revealing that only 8.5% of the charity’s expenditures went to charitable grants over a six-year period from 2016. Notably, the inquiry uncovered that charity funds were misused for Campbell’s luxury hotel stays during events in Cannes, alongside personal expenses such as spa treatments and room service.
In response to a question from the AP, Campbell said, “I’ve just found out today about the findings and I am extremely concerned. We are investigating on our side. I was not in control of my charity; I put the control in the hands of a legal employer. We are investigating to find out what and how, and everything I do and every penny I ever raised goes to charity.”
Alongside Campbell, fellow trustee Bianka Hellmich has been disqualified for nine years after receiving unauthorized payments for consultancy services, while trustee Veronica Chou has been barred for four years. The charity, founded in 2005 to unite the fashion industry in addressing global poverty, was dissolved earlier this year, having raised over $15 million for various causes worldwide.
Despite the controversy, Campbell’s honor in France highlights her lasting impact on the cultural landscape.
Rick Owens enchants with gothic splendor

At Thursday’s show at the Palais de Tokyo, Rick Owens unleashed a captivating spectacle that felt like a dramatic descent into a realm inhabited by gothic aliens. The atmosphere was thick with smoke and suspense as an army of biblical figures marched out in impressive diagonal formations, their asymmetrical knee-high leather boots featuring translucent heels, making each step a statement.
Owens’ trademark angular, alien-like geometric shoulders dominated the runway, capturing the essence of his singular vision—one that merges dark romanticism with avant-garde aesthetics. The collection was a testament to his ability to blend his gothic instincts with a sense of reverent irreverence, reminiscent of the “delicate time” he referenced in previous collections, where beauty and horror coexist.
As the show unfolded, a billowing coven emerged, clad in oversized black priest-like hoods and flowing tulle cloaks that draped elegantly over their forms. Some models donned discreet headscarves, striking a balance between reverence and defiance, perfectly embodying Owens’ commentary on societal norms. This juxtaposition echoes his commitment to inclusivity, presenting a vision of fashion that celebrates diversity while challenging conventional beauty standards.
The intricate craftsmanship used in the collection exemplified Owens’ mastery. Each piece, from the cloaks to the striking silhouettes, invited viewers to appreciate humble fabrics. This aligns with his insistence that he presents “the most excellent aesthetics” possible, recognizing the nuanced interplay between the dark and the light in our world.
While some may find Owens’ aesthetic too avant-garde or even gloomy, this show reaffirmed his position as a provocative force in fashion. The theatricality and elaborate design remind us of his role as one of the last independent designers in Paris, navigating the complexities of the fashion landscape with fierce authenticity.