Simon Porte Jacquemus (Instagram) has once again redefined what it means to host a fashion show. This time, the designer traded the sweeping lavender fields and sunlit salt flats of past collections for an intimate setting steeped in modernist history: the Paris apartment of architect Auguste Perret. The decision to show in such a space—an Art Deco masterpiece of wood and concrete—felt deliberate, a stripped-back canvas for a collection rooted in simplicity and storytelling.
Titled “La Croisière” (French for “cruise”), the Spring 2025 collection paid homage to 1950s glamour while subtly weaving Jacquemus’ playful spirit into every silhouette. Models, including Christy Turlington and Adriana Lima, glided through Perret’s mismatched chairs in looks that reimagined mid-century tailoring. From cinched waists reminiscent of Dior’s iconic New Look to sharp, sculptural coats and drop-waisted skirts, the collection struck a perfect balance between classic and contemporary. The cuts and silhouettes, though timeless, carried a quiet modernity that felt both relevant and aspirational.
The presentation itself mirrored the ethos of the collection. With just 40 guests in attendance—including Pamela Anderson, Tyla, and Central Cee—it evoked the intimate atmosphere of fashion’s golden age, reminiscent of Christian Dior’s early salon presentations in the post-war years that marked the birth of haute couture. The luxurious fabrics, from gauzy organza to figure-hugging knits, and the deliberate simplicity of the setting heightened the sense of nostalgia, proving that grand ideas can thrive in understated spaces.
Jacquemus’ designs leaned into both elegance and wearability. Women’s looks embraced hourglass dresses, flowing trousers, and “naked” gowns, each accentuating the human form with a subtle sensuality. Menswear brought crisp tailoring to the forefront, with double-breasted blazers and athletic-inspired trousers that fused structure and ease. Accessories extended the narrative—a revamped Nike “Moon Shoe,” with its archival silhouette, added a playful yet refined touch to the overall mood.
Every detail in the collection seemed purposeful. The sculptural shapes and hand-finished touches emphasised Jacquemus’ dedication to craft, while the luxurious fabrics brought a tangible depth to each piece. There was nothing loud here, but everything demanded attention—a quiet mastery of balance.
With “La Croisière,” Jacquemus invites us to reconsider the essence of fashion itself. The show wasn’t just a collection; it was an act of restraint and intention, a celebration of simplicity as a form of luxury. In returning to Paris, Jacquemus reminded the world that great fashion doesn’t always require grand theatrics—it just needs a story worth telling.
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