The biggest Autumn/Winter 2025 moments from Paris Fashion Week

After Milan, it was time for the Autumn/Winter 2025 men's shows in Paris. Spanning six days, the collections on show came from both the French brands that historically show in the city, and ones that want a taste of the Parisian energy. This saw an amalgamation of brands, from Dior and Louis Vuitton to South Korean label Wooyoungmi and American brand Amiri, staging shows.

Below are our highlights from the AW'25 collections in Paris Fashion Week...

“Hollywood is where you go to dream - where people go to build, and to rebuild. That’s the nature of the city of Los Angeles," said Mike Amiri of his Autumn/Winter 2025 collection. "This [...] is a homage to Hollywood and to Los Angeles, a celebration of the city I call home. A collection filled with optimism, dreams and love."

Amiri looked to the late 1960s and early 1970s - touchstones in the evolution of a Los Angelean identity - for this collection. Tailoring is slick, with neckties knotted, and trousers falling limply on sharp boots. Leather trenches in buttery hues and chocolate brown are waist-cinching and worn with baggy slacks and more neck ties. It was the officewear that The Nice Guys would dream about.

Kim Jones, who this weekend was awarded the chevalier de la Légion d’Honneur, the highest civilian award in France, has spent over half a decade at Dior, and has successfully translated the founder's womenswear into elegant menswear.

Jones looked back to the ‘quintessence’ of Dior, drawing inspiration from the ‘graphic and angular’ lines of the house’s Ligne H collection, presented in the mid-1950s, for his Autumn/Winter 2025 collection.

The show notes described it as an "encounter of extravagance and simplicity, of yesterday and today," and it was a celebration of men's couture (Dior never actually did menswear in his years at his namesake brand).

Staged in a clinical setting - just a series of steps and an all-white room outside Paris’ École Militaire - the show presented one of Jones' best collections yet. Silk blouses sat alongside excellently crafted leather jackets, while crystals adorned the shoulders of tailored coats and the pièce de résistance, a show-stopping couture opera coat in baby pink, closed out the show.

Pharrell Williams' latest offering at Louis Vuitton was perhaps his most promising yet, and he collaborated with Nigo, the founder of A Bathing Ape and current creative director of Kenzo, to present a collection of clothes that were so inherently them.

Blazers were worn with gently flared trousers (a Pharrell signature), varsity jackets were cast in camel and scarlet, reminiscent of the sort that they teamed up on through Billionaire Boys Club, and leather trench coats were waist cinched. The Speedy bag made its return, arriving in baby pink monogram, while a lobster-shaped handbag was a new addition to the Parisian label's accessories line-up.

In keeping with the mood across the board at the men's shows, tailoring was key for Louis Vuitton this season, and suits were adorned with the LV monogram or the Dernier check in pink, while some were worn with lavish ties and zip-up knits. Others were double-breasted with sharp lapels.

Wooyoungmi, which was founded in 2002, was one of the standout shows at Paris Fashion Week. Youngmi Woo gave her take on modern tailoring, and the result was quite extraordinary. With classical ideas of “proper dressing” as its foundation, the collection explores new expressions of elegance. One dinner suit was manufactured to burst into romantic tonal flower formations, which was also used on coats and shirting. Outerwear was also key this season, with greatcoats, trench coats, Crombie coats and parkas cut from suede and leather.

Meanwhile, Minhwa, the Korean folk art of the Chosun era (1392-1910), adorns garments throughout the collection, and the scenic landscape is seen on matching trouser-jacket combinations.

British designer Peter Copping made his debut at the French Maison on the Sunday night, closing out Paris Fashion Week. For his collection the designer, who has previously held positions at Oscar de la Renta, Balenciaga and Louis Vuitton, looked to the founder of the House, Jeanne Lanvin.

The womenswear is glamorous and adorned in the aesthetics you'd expect from someone who had honed their craft at de la Renta, but the menswear is more subdued and the silhouette is sharp and defined.

Overcoats came in leopard print as well as more muted tones, while high neck tops had some shine to them. “This collection is deeply personal – an homage to Jeanne Lanvin’s world and her intimate sense of style," Copping said. "I sought to project the essence of her wardrobe today while imagining it on a cast of modern characters — which I hope you’ll enjoy to discover."

Sir Paul Smith is a seasoned showman, but this time he decided to stage a presentation at his Rue des Archives office. "I think the world’s gone a bit mad with these shows everywhere around the world,' the British designer told us pre-show.

His collection was inspired by his father, and was one of his most exciting to date. "My dad was an amateur photographer and he took pictures for his own personal use," Smith told us ahead of the presentation, explaining that during the 1960s his father was the founder of an amateur camera club in Beeston, just outside Nottingham. Those 20th century photographers that pique his father's interest were David Bailey (who had spoken at his father’s camera club), Terence Donovan, Saul Leiter and William Eggleston.

The collection was inspired by the wardrobes of those men, and an almost-dishevelled styling of shirts was matched with a heavy use of denim. Shirts and ties were matching in the same way that men wore them in the 1960s photographs Smith's father took. Meanwhile, Smith unveiled a Barbour collaboration, as he wanted to capitalise on the best of British eccentricity.

Nigo presented his Kenzo collection, which was inspired by a wardrobe woven on the train from Tokyo to Paris. Re-imagining concepts from the brand's Train Show from Fall-Winter 1998, Nigo invited the American artist Futura 2000 to create imagery and iconography for the collection in a collaboration marked by the fusion of their monikers: ‘2000’ plus ‘Ni-go’ – which also means 2-5 in Japanese – equals the year 2025.

Nigo presented the show at the Palais de Chaillot with the Eiffel Tower as its backdrop, and the collection comprised English tailoring sourced from the historical clothing archives of Nigo. It is re-interpreted through a contemporary lens, and suits come with fluffy textures and accents of powdery pastels, infusing them with a preppiness. Classic suit compositions assume Japanese constructions, and in new takes on the three-piece suit, jackets are spliced with kimono-cut waistcoats. Workwear, which is a Nigo signature, took the form of boxy utility jackets engineered in vibrant, wintery mohair and work jackets and rigid bombers in pastel hues.

Burgeoning brand Ernest W Baker took inspiration from the supernatural horror film The Fog directed by John Carpenter. Sharp tailoring, hand embellished garments, all the fundamental elements that have been present since the brand’s origins, have been elevated and evolved.

Similarly the label's go-to aesthetics such as pinstripe, check, herringbone and houndstooth, are patched and reworked together to create a twist to sartorial classics. The rain motif is studded onto suede jackets and trousers, not just as a nod to the film, but as a continuation of the element that has been present with the brand for several years.

Alexandre Mattiussi's AMI has become a highlight of the Paris Fashion Week schedule. His AW'25 collection was unveiled in an abandoned building in the 9th arrondissement, with the likes of Whoopi Goldberg in attendance.

The collection comprised the easy-to-wear clothing that has made the brand a success since its launch in 2011. Oversized, work-ready checked jackets, slouchy suits, blazers worn under parker coats, plenty of neck ties and thick-soled loafers made up the collection, while an autumnal colour palette of warm amber, bronze, olive green and black felt appropriate. Accessories-wise Mattiussi presented an array of man bags in all shapes and sizes. Notable was the introduction of the Mimi, its latest model, named after an endearing French term meaning both cute and small.

Véronique Nichanian has held the position of artistic director of the Hermès men's universe for 36 years. And it's no surprise why. She creates clothes that men want to wear (and do actually buy).

Her AW'25 collection was soft, and she created a wardrobe using snowy alpaca and cashmere flannel, velvet, sheepskin, shaded bouclé and teddy mohair. Chunky knits and slim-fit trousers (a move away from the wide-legs seen at almost all other shows) were presented alongside dark brown leather jackets and balaclavas. Graphic zip-up knits were paired with simple slacks for everyday wear, while tailoring came in supple velvet.

Colour-wise, Nichanian opted for charcoal grey, prunoir, chrome green and bronze, making for a palette of muted tones, warmed by pops of blood orange, as is the Hermès way.

This year Berluti celebrates its 130th anniversary and for its collection it adopted the notion of Phylogeny – a core biological principle of new branches and families being born from one same trunk or tree – to showcase the three branches of expertise that evolved from a common root: the Maison’s mastery of leather.

The Démesure shoe, the Forestière jacket and the Périple bag are the three highlights of the collection, and explored the rich heritage of the brand.

Now read up on the Milan Fashion Week Autumn/Winter 2025 collections

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