Three happening new-generation designers staged Saturday shows for McQueen, Ann Demeulemeester, and Ludovic de Saint Sernin. We caught up with this next wave in fashion.
McQueen: mineralogy and mode
Seán McGirr invited guests to his third collection for the house of McQueen to the Galerie de Géologie et de Minéralogie. Like the scientific curiosities the space contained, the collection felt a little timeworn, even dusty.
McQueen Fall/Winter 2025 Collection – Courtesy
McGirr clearly has plenty of design chops; he drapes with wit and can confidently tap into the gothic and Celtic DNA underpinning the McQueen brand. But as a show, this really did not take off.
Dublin-born Seán’s central idea was the revival of dandy, a word of Scottish etymology denoting a deeply elegant man, albeit perhaps one overly obsessed with personal vanity. The young Irish designer, on the other hand, interpreted the dandy as a liberating concept, where the act of dressing up was an expression of one’s individuality.
Respecting the house’s roots in Savile Row tailoring, McGirr began with the crispest of suits, tailcoats, mini-frocks, and Edwardian redingotes.
McQueen Fall/Winter 2025 Collection – Courtesy
Before slowly but surely getting lost in evening wear—bouffant fur cocoon coats engulfing slip dresses worn with Wild West saloon stockings, or a lace negligee gown showing knickers and bra that neither McQueen nor his successor Sarah Burton would have countenanced.
McQueen Fall/Winter 2025 Collection – Courtesy
His dark pink chiffon ruffled gown or white satin slips, finished with a cloud of tulle at the shoulder, did have a certain aura. But despite the smart casting and kicky soundtrack, which included The Soft Boys, the mood was flat at the finale.
Following Lee McQueen or Sarah Burton would always be a monumental job. And to his credit, McGirr clearly has a good handle on the house codes. But the days when Alexander McQueen was the greatest show in fashion seem like ancient history—just like the prehistoric stones in this gallery.
Ludovic de Saint Sernin: transgressive femme fatale
In his day, Ludovic de Saint Sernin was one of the best designers in fashion. This Saturday was one of those days when his blend of transgression, tailoring, sex appeal, and sizzle was perfectly proportioned.
Ludovic de Saint Sernin Fall/Winter 2025 Collection – Courtesy
Presented inside a tatty ’60s office building in Montparnasse, this fall-winter 2025/26 collection starred the key trend of Paris—the return of the femme fatale.
Man-eating Mata Haris marched through dry ice in power-shoulder jackets with deep-gorge tops trimmed in crystals or lizard body-con cocktails packed with sizzle.
Ludovic de Saint Sernin Fall/Winter 2025 Collection – Courtesy
For after-hours parties, seductresses appeared in slinky skirts and bra tops made of ribbed stretch nylon, finished with steel zippers or faux python. In case you didn’t get the message, one enchantress strode by in a PVC bra and pants with thigh-high boots worn under a black trench left open.
Ludovic will always love a little transgression, and in this co-ed show, he sent out guys in gilets made of zippered gray flannel or studded green PVC, their nipples almost popping out each time.
Ludovic de Saint Sernin Fall/Winter 2025 Collection – Courtesy
Powered by a sensational soundtrack mixing Recoil and Popgoth, this was a powerful statement, coming six weeks after De Saint Sernin’s stellar statement couture show for Jean-Paul Gaultier.
Come to think of it, if someone needs to find a couturier to revive a venerable French house, Ludovic de Saint Sernin’s name should be at the top of the candidate list.
Ann Demeulemeester: devil’s disciples in the Marais
Suddenly, and rather spectacularly, Ann Demeulemeester has again become an important show.
Ann Demeulemeester Fall/Winter 2025 Collection – Courtesy
Let’s give thanks for that to Ann’s creative director, Stefano Gallici, whose latest collection managed to mine the poetic emotions of the brand into a fantastic Four Corners of the USA fashion statement.
Presented inside a former medieval hospital in the Marais, packed to the gills with an audience entirely dressed in black and white—most of it made by Ann Demeulemeester.
Ann Demeulemeester Fall/Winter 2025 Collection – Courtesy
Gallici tapped into all sorts of American iconography in an image book left on each chair—from an elderly Georgia O’Keeffe in her garden to Dennis Hopper’s photos of classic ’50s cars to Abbie Hoffman at Woodstock.
In an era of Trump’s decimation of the American government, it is striking that so many designers are referencing the counterculture of the 1960s. The freedom of those days was backed up by that era’s counterculture, the opposite of the global right-wing’s attack on anything woke.
Ann Demeulemeester Fall/Winter 2025 Collection – Courtesy
The result was a great show, starring an ideal poetic gothic collection entitled “Wall of Reference”—rocker poetics in dusters, Western gunslingers’ leather gilets, leather rancher hats, crocheted Clint Eastwood ponchos, black leather undertaker coats, and superb three-piece sheriff’s suits for a lass in Tombstone, Arizona.
Three storied brands chronologically staged very disparate shows in Paris on Sunday – Akris, Valentino and Balenciaga. Their extreme differences an expression of the richness of the world’s most important runway season.
Akris: Clothes for brainy girls
If one really wants to know what the world’s lady decision makers are going to wear next winter, then an ideal place to start is at an Akris runway show.
Though the biggest advance was in a new series of rather remarkable materials: classy high-ridge corduroy seen in great coats and or coat dresses in impeccable wool blends.
Albert Kriemler’s big idea was expressed by the word Cyan, a Greek word denoting a certain hue of blue. But, in the end, working with an array of blues – indigo, cobalt, azure, lapis, admiral and, of course midnight – often flattered by the accessories, feathers trimming pumps, handbags or earrings.
Few brands create a more complete wardrobe than Akris. Perfectly polished suits to host board meetings or sign treaties; elegant grenadier cut parkas or denim dusters for weekend strolls.
Arty cocktails for art openings; or grand gowns for the Vienna State Opera or the Met in New York.
This season, Albert teamed up artist Alyson Shotz, and the resulting spiral and smoky prints were used cunningly in gallery owners’ sheathes or dramatic coats.
All working together in a hyper-synched show staged flawlessly inside the remarkable medieval church College des Bernardins – just across the Seine from Notre Dame. Winning the self-confident but rather shy Albert one of the greatest ovations of his storied career.
Working with a new DJ Terence Fixmer to create a soundtrack that managed to be ethereal and industrial at the same time. Known for spinning inside Berlin’s dark and crazy nightclub Berghain, where parties can last three days. Leading one to ask the great intellect of Mittel European fashion, Albert, had he gone clubbing there himself?
A question which was met with an open mouth, a swallow and a faintly little boy shrug, but not a yes or no. Suggesting Kriemler was not unfamiliar with the dark side of Berlin.
Valentino: Gray Gardens in a Berlin nightclub toilet
At times watching this latest collection by Alessandro Michele one found oneself asking whether Michele had signed to work for Valentino, or had Valentino signed to work for Michele, or so self-indulgent was the whole event.
Guests were invited into a large, sweaty black box along the Seine, to find themselves surrounded by some 70 toilet cubicles, everything inside the tent painted in founder Valentino Garavani’s sinful red. Pre-show, Michele’s old buddy Jared Leto and various K-pop stars took turns preening in front of cheap bathroom mirrors, again bathed in red fluorescent light.
Eventually, the show began as the cast took turns exiting their red cubicles to a thunderous soundtrack. After that, it was the case of the usual Michele suspects. Though, thankfully, Alessandro is a sufficiently inventive designer so the combinations looked fresh.
Opening with crisp pant suits; or peak shoulder skirt suits with three-inch fur trim. But, since we were in a loo, adding a good transgressive dollop. Starring gals in knickers and leotards undone at the crotch; some in satin bow bustiers and jeans; and others in long flowing silk skirts topped by full sheer mesh tops.
The cast done up with pale, goth makeup, endless Edie Bouvier Beale headbands and sunglasses. Not what most ladies wear inside public toilets, especially in Berlin, or Ibiza.
The show did have some kicky clothes – beautifully draped silk ribbon cocktails; silver ruffled lace frocks and snakeskin print knit dresses. And for guys, debonair blazers; or disco dragoon double-breasted jackets worn with red silk hunting shirts; and one fabulous funnel neck dressing gown/coat in beige cashmere.
No one could ever accuse Alessandro of not having a fertile imagination. Though quite why he chose checkered flag sneakers, the sort of finds in discount bins on 14th street, was hard to fathom.
The show ending with thunderous music, a blend of classic and industrial including a remix of “Ailanthus” by Julia Kent. A bombastic show, but not a brilliant one.
Balenciaga: pure and unadulterated
Those who love their fashion to be dark, tough, after-hours and frequently all-weather chic should not have missed the latest show of Balenciaga by designer Demna.
The bare necessities of a show this season, with a narrow, claustrophobic catwalk with 20-foot high curtains on either side. Everything element of the show set done in black.
A loud public warning by an MC to take our seats and one minute of “Moonlight Sonata” by Dr. Death + Mr. Vile, before we plunged into Demna’s singular world.
Opening with simple basics: a guy in a black suit and tie who could have passed for show security. A lad in dark pants and down vest that might have been from Uniqlo. Then the action kicked off with Demna daguerreotypes: a hyper cool matelassé padded bustier jacket, for guys and girls; a rock god leather redingote; a ribbed knit for guys that reached the knee.
Lots of returning refugee style, with guys in torn tank tops; outback rider boots and denim jackets with fur hoods so large the whole face was hidden.
In the end, this was a statement show, by a gentleman who was a refugee from Sokhumi, the capital of the Georgian province of Abkhazia, a breakaway bandit state foisted on the local population by Putin.
Refugee chic is not just a trendy style statement. It is an indication in a runway show of the dangerously possible price that Eastern Europe could pay for Donald Trump’s embrace of the totalitarian leader of Russia.
Princess Polly is set to open 7 new U.S. stores in 2025, solidifying the brand’s growing retail footprint.
Princess Polly to expand U.S. presence with 7 new store openings in 2025. – Princess Polly
The expansion will kick off later this month with the opening of a flagship store in New York City’s SoHo neighborhood. Throughout the year, additional locations will open in Miami, Florida; Glendale, California; Columbus, Ohio; White Plains, New York; Garden City, New York; and King of Prussia, Pennsylvania.
The new stores will maintain the brand’s signature aesthetic, including selfie mirrors, unique furniture installations, and engaging store layouts. Most locations will range between 4,000 and 5,000 square feet, allowing for an expanded selection of products and categories.
“We are thrilled to be unveiling seven new Princess Polly stores across the U.S.,” said Eirin Bryett, co-CEO of Princess Polly.
“At Princess Polly, we’re constantly striving to connect with our customers and meet them where they’re shopping, and we see physical stores as a significant opportunity to continue expanding our hybrid retail presence. The success of our existing stores has fueled our momentum and attracted new customers, and we can’t wait to introduce more shoppers to our in-store experience.”
Princess Polly launched its first physical store in Los Angeles in 2023. This expansion will bring the total number of Princess Polly locations to 13, and marks the next step in its hybrid retail expansion plan.
Princess Polly is a part of A.K.A. Brands’ growing portfolio. Other brands in its portfolio include Culture Kings, Mnml and Petal & Pup.
“We’ve received a very positive reception from our customers regarding the Princess Polly in-store experience, which has encouraged us to bring the brand to life in even more cities this year. Community is at the heart of everything we do, and our stores are a critical touchpoint where we can create a space for customers to connect with Princess Polly on a new level and foster a deeper relationship with the brand they’ve come to love online,” added Bryett.
Hudson’s Bay Company ULC, the Canadian department store operator, announced on Friday it has filed for creditor protection with a Canadian court, and revealed plans to restructure its business.
Hudson’s Bay
The Toronto-based retailer said it has commenced proceedings under the Companies’ Creditors Arrangement Act (CCAA) pursuant to an initial order for creditor protection from the Ontario Superior Court of Justice.
The company said it is exploring strategic alternatives and is exploring potential solutions to strengthen its business.
Restore Capital, LLC, an affiliate of Hilco Global, together with other lenders, will provide interim debtor-in-possession financing to finance Hudson’s Bay’s operations in the lead up to the “comeback motion” hearing, with a CAD$16 million advance already approved.
Hudson’s Bay will be seeking additional financing to fund its operations during the CCAA proceedings, the company said, adding that the money enables it to keep operating for 10 days, at which time it must present a restructuring plan to the court or request an extension.
“Hudson’s Bay has been a vital retailer to Canadians for generations, and this decision was made with the best interests of our customers, associates and partners in mind,” said Liz Rodbell, president and CEO of Hudson’s Bay.
“While very difficult, this is a necessary step to strengthen our foundation and ensure that we remain a significant part of Canada’s retail landscape, despite the sector-wide challenges that have forced other retailers to exit the market. Now more than ever, it is critical that Canadian businesses are protected and positioned to succeed.
“Earlier this year, we worked with potential investors to refinance a portion of our credit facilities to improve our liquidity and support our business plan. However, the threat and realization of a trade war has created significant market uncertainty and has impacted our ability to complete these transactions.”
The company attributed its financial hardships to ongoing trade tensions with the U.S., including the new tariffs on exports to the U.S.; post-pandemic shifts, including changes in Canada’s corporate culture resulting from work-from-home policies; and economic headwinds, including the rising costs of living, higher mortgage rates, and a weakening Canadian dollar.
Hudson’s Bay operates 80 stores, with store closures expected as a result of the restructuring plan. The company has a small footprint of Canadian Saks Fifth Avenue and Canadian Saks Off 5th stores, which it said will continue to operate.
Alvarez & Marsal Canada Inc. has been appointed as the monitor to oversee the CCAA proceedings.