Full review of the Jacquemus Spring Summer 2025 runway show.
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Simon Porte Jacquemus did a 180-degree turn for his spring show. Instead of traveling with hundreds to one of his far-flung destination shows—lavender field, salt-flats, cornfield, art foundation or palace—he chose a near-flung “intimate” location in Paris this season. Not that the “masterpiece” art deco apartment designed by the great Paris architect Auguste Perret (made for him and his wife Jeanne Cordeau to live and entertain in) was any less of an experiential destination. Just a very small one, buzzing with convivial chat, in which some rather famous people such as Pamela Anderson, Carla Bruni, Audrey Tautou, Stefon Diggs and Central Cee perched in Perret’s sitting room to watch Christy Turlington, Liya Kebede, Doutzen Kroes and Eva Herzigova super-modeling what looked very like a Jacquemus haute couture collection.
Very surprisingly grown-up it looked, too: cocooning cabans creating bubbles over ultra-swishy circle skirts, a paneled poplin hourglass fit-and-flare dress, a black dots-on-white tulle stole swathing a voluminous sweatshirt and pencil skirt. Various jersey draperies with open sides and dramatic knotted back-views walked through. There was a giant tiger-patterned opera coat. Menswear too: three white suits, one with a sweeping polka-dot lined couture coat on top, seemed aimed straight at the steps of the Met on the first Monday in May.
And indeed, part of the reasoning that Porte-Jacquemus related afterward did have to do with America. “I was thinking about opening my stores in New York and LA,” he said. “And about how Coco and Christian [Dior] went to America.” He started watching a lot of old French couture salon shows, and looking at Marilyn Monroe (hence, surely, the 1950a bullet-bra under the lemon yellow sweater). It was “a back-and-forth between America and France.”
Porte-Jacquemus had been dropping a trail of Instagram hints in this direction for a couple of weeks: an Erte drawing which is the exact one-shouldered shape of a black jersey dress, a classic Edith Head circle skirt and sweater movie costume and a photo of Peggy Guggenheim in Poiret (whom Porte-Jacquemus credited as the inspiration for an animal-print coat).
Perhaps elegant, sexy and classic is the way things are going? The 41 looks, seen up close (Porte Jacquemus said he wanted to be “honest,” to invite scrutiny of the quality of his work) certainly made a contrast to the 63-look show he threw for thousands in the vast La Defense sports venue in fall 2020—that time Gigi Hadid flicked her hair and broke the internet.
Porte Jacquemus’s push for a more mature kind of couture-like glamour is not a complete stylistic about-turn, though. It’s more an onward development of his favorite ideas—which were seeded in his earliest shows, “where I always referenced French couture,” he said. While this collection could be parsed in part as his fan tribute to many earlier designers—Azzedine Alaïa included—his own codes are also clear. The things he does with the building-blocks of circles and triangles, stripes and spots are the playful Jacquemus all over.
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