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In addition to playing dress-up and catching shows, Cabello says she always has a few spots in the City of Lights that she loves to visit when she’s in town. “I went to my favorite bookstore in Paris, Shakespeare and Co., and bought Sally Rooney’s new book. That’s my idea of a fun Friday night! I also had dinner with some friends at Allard, Alain Ducasse’s restaurant.” She’s also keeping up the fun and R&R now that Fashion Month is officially over. “Right after PFW, I’m going to order pancakes and lie in bed for 10 hours,” Cabello says. “After that, the world is mine.”

Individuality over algorithm was the message of the season, including Alessando Michele’s Valentino debut. Photo by Acielle/Style Du Monde We did it! The spring 2025 shows are done and dusted—that is, with the exception of a spectacular Giorgio Armani show scheduled for mid-October in New York. As I checked the headlines about the vice presidential debate on my way to Charles de Gaulle, I was reminded of the presidential face-off during New York Fashion Week that we all rushed home to see after the Luar exploded at Rockefeller Center. It feels like a million years have passed, and a lot has happened in those days: Bombs are raining down in the Middle East, a devastating hurricane has swept 600 miles across the southern United States, killing more than 100 people, and Austria’s far right has just won that country’s national elections, the list goes on. “Being part of Fashion Month,” Luke wrote in his Coperni review, “always feels like living in another (un)real world.” But it rarely feels that way more than this season.

Which got me thinking: Are brands as engaged as they should be with the times we live in? Willy Chavarria did so in New York, in what was for me the most moving show of the season, a show that embraced America’s diversity and breathed new, thrilling life into the usual uniforms. Designers, sensitive as they are, tapped into a general sense of dread and anxiety; one of Miuccia Prada’s Miu Miu collaborators declared “we’re at the end of the line” in a newspaper called The Truthless Times that was handed out in our seats. But bringing all that anxiety to the runway was impossible for many. Instead, they rallied around themes like joy (Marni), childlike wonder (Bottega Veneta, Loewe), and algorithm-defying individuality (Prada, Valentino, Louis Vuitton). Nicolas Ghesquière says he wants to create pieces you can’t name. His words keep ringing in my ears: “If you don’t take an aesthetic risk every season, you’re not playing fashion.” Aesthetic risk may be enough of a risk. What does everyone else think?—Nicole Phelps

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