Paris Fashion Week: A Mixed Bag of Debuts and Established Styles

Published
October 5, 2025

Paris Fashion Week, a cornerstone of the global fashion calendar, showcased a diverse array of collections this past Sunday. The day featured a striking contrast between the chaotic debut of Duran Lantink at Jean-Paul Gaultier, the commercial savvy of Celine under Michael Rider, the artistic elegance of Akris, and the familiar yet provocative offerings from Alessandro Michele at Valentino.

Jean-Paul Gaultier: A Troubling Debut

Duran Lantink’s debut at Jean-Paul Gaultier was marked by a series of missteps that left many in the audience bewildered. Known for his avant-garde approach, Lantink attempted to reinterpret Gaultier’s iconic motifs but ended up producing what some critics described as a “fashion disaster.”

The show took place in the basement of the Jacques Chirac Museum, a setting that seemed ill-suited for a brand celebrated for its vibrant and irreverent spirit. The dark, cramped space, filled with heating and sewer pipes, set a somber tone that clashed with Gaultier’s legacy of optimism and humor.

Lantink’s collection featured body stockings adorned with prints that included stains and blood, a stark departure from Gaultier’s innovative use of chiffon. The opening look, a nod to Madonna’s famous conical bra, was transformed into an unflattering orange ensemble that resembled a squished alien doll. Such interpretations left many questioning Lantink’s understanding of Gaultier’s aesthetic.

The collection’s athletic looks, while occasionally successful, failed to resonate as a cohesive vision. The entrance to the show, marked by a mock nightclub bar littered with empty bottles, further emphasized the disarray of the presentation. For many, this debut signaled a troubling moment for the Gaultier brand, raising concerns about its future direction.

Celine: A Bright Spot Amidst the Chaos

In stark contrast, Celine’s show radiated positivity and commercial appeal. Creative director Michael Rider, who has quickly made a name for himself with just two collections, presented a lineup that felt both fresh and accessible.

Set against the picturesque backdrop of Parc de Saint Cloud, the collection was a masterclass in buyer-friendly fashion. Rider’s tailoring was impeccable, blending ’80s-inspired power-shoulder jackets with Spanish-style peg-leg pants. The co-ed show featured short, flared cocktail dresses adorned with pop-art florals, showcasing a clear focus on consumer-friendly designs.

Rider’s previous experience at Ralph Lauren was evident in pieces like a bright yellow cashmere sweater featuring a Celine horseman and carriage design. The collection also included a thoughtful gift for guests: a silk scarf that echoed the show’s recurring motif. Footwear options ranged from boxing boots to minimalist cowboy boots, further enhancing the collection’s appeal.

While some critics noted that the collection could benefit from a touch more Parisian flair, it was undeniably a strong showing for Celine, marking two successful seasons under Rider’s leadership.

Akris: Art Meets Fashion

Akris, under the creative direction of Albert Kriemler, continued its tradition of merging fine art with fashion. This season, Kriemler drew inspiration from the geometric abstract paintings of Leon Polk Smith, resulting in a collection that was both visually striking and practical for the modern woman.

The show took place at Palais de Tokyo, where a giant reproduction of one of Smith’s works served as a backdrop. The garments were designed for the busy, career-oriented woman, featuring pieces like a vermillion wool suit and a silk organza parka. Kriemler’s use of color and form created a collection that was not only aesthetically pleasing but also empowering.

Akris has long been recognized for its commitment to dressing women rather than merely decorating them. This season’s offerings reaffirmed that ethos, showcasing designs that flatter and empower, even if they remain out of reach for many consumers.

Valentino: A Familiar Yet Provocative Collection

Alessandro Michele’s latest collection for Valentino was steeped in historical references, drawing inspiration from the student protests of Pier Paolo Pasolini during World War II. The show, held in a dimly lit tent reminiscent of a Berlin nightclub, created an atmosphere that was both unsettling and thought-provoking.

Michele’s collection featured a blend of retro glamour and modern sensibilities, with high-waisted skirts and sheer lace columns that revealed glimpses of lingerie. While the designs were undeniably beautiful, they also felt repetitive, echoing past collections without offering significant innovation.

The show concluded with models walking downcast, accompanied by an orchestral soundtrack that felt more suited to a funeral than a fashion celebration. Michele’s references to the resurgence of fascism and the dangers of conformism were poignant, especially in today’s political climate. However, the collection’s familiarity left some critics yearning for a more original vision.

Conclusion

Paris Fashion Week continues to be a platform for both emerging and established designers to showcase their visions. While Duran Lantink’s debut at Jean-Paul Gaultier raised concerns about the brand’s future, Celine and Akris demonstrated the power of commercial appeal and artistic inspiration, respectively. Alessandro Michele’s Valentino, while visually stunning, struggled to break new ground. As the fashion world evolves, the balance between innovation and tradition remains a critical theme, shaping the narratives of designers and their collections.