PARIS (AP) 鈥� Chemena Kamali鈥檚 sophomore collection for Chlo茅 was a luminous exploration of femininity, blending the house鈥檚 heritage with a fresh, sensual energy for spring on Thursday. Set against a backdrop of sun-faded apricots, blushes and soft whites, the Paris collection captured Kamali鈥檚 vision of a summer that she surmised as: 鈥渨hen you pause, escape, explore and recharge.鈥� It celebrated Chlo茅鈥檚 free-spirited DNA, infused with a lightness that felt both nostalgic and forward-looking.
Here are some highlights of Thursday's shows at , including when Naomi Campbell was awarded a prestigious honor in France:
Kamali's joyful freedom
鈥淭here鈥檚 a liberating expression of total freedom,鈥� Kamali said, of her spring display.
This freedom flowed through silk charmeuse gowns, lingerie-inspired crop tops and peek-a-boo designs.
Echoes of Karl Lagerfeld鈥檚 70s Chlo茅 lingered in exaggerated shoulders and standout pieces, like a loose-fitting, vivid blue coat. 鈥淐hlo茅 is not a passing moment; it鈥檚 an eternal state of mind,鈥� Kamali noted, grounding her collection in the house鈥檚 long-standing ethos of optimism and instinct.
Layering played a central role, but Kamali kept it light and intuitive, reflecting what she called a 鈥渧ery personal way of dressing.鈥� Sheer fabrics and sun-worn lace mixed effortlessly with ribbed jerseys, creating looks that felt weightless and spontaneous, a signature of Kamali鈥檚 debut collection. 鈥淲hat matters to me is the feeling and intuition,鈥� she said.
A standout moment came in the form of a dramatic trapeze-shaped silk gown, its dynamic silhouette swirling with movement. It epitomized Kamali鈥檚 ability to honor Chlo茅鈥檚 romantic roots while infusing a modern sensibility. 鈥淭he mood is light, weightless, sensual and joyful,鈥� she explained. That joyful freedom was a defining thread from start to finish.
With her second outing, Kamali proved she is . She crafted a spring collection that balanced nostalgia and sensuality while pushing the house toward a bright, optimistic future.
Mugler鈥檚 Cadwallader takes a bite at fashion
Casey Cadwallader delivered a striking debut for , equal parts theatrical and innovative. The hair, sculpted into harsh fringes like a viper鈥檚 fang, set the tone for a collection defined by sharp architectural lines. Curving lapels adorned tight jackets, while tendrils of latticed silk flowed into skirts that bled vibrant yellows, creating a visual spectacle.
The collection boldly embraced femininity, featuring a bust that echoed the form of seashells and a densely packed bustier resembling a diving whale. This daring aesthetic aligns with Cadwallader鈥檚 aim to infuse the brand with a fresh energy, moving away from the extravagance that some original Mugler fans long for. However, the theatrical elements, while captivating, may prompt questions about whether they overshadow the essence of traditional fashion presentation.
Oversized tubular arms complemented a webbed skirt-coat, while a transparent loose trench evoked the look of a sea medusa, reinforcing Cadwallader鈥檚 commitment to pushing boundaries. This collection showcases a provocative take on body-conscious design and inclusivity, aiming to resonate with a diverse audience.
Yet, Cadwallader鈥檚 choice to prioritize multimedia and performance raises concerns. Critics may feel this direction dilutes the brand鈥檚 identity, diverting from the high-fashion roots that established Mugler鈥檚 reputation. The sentiment that the house is now focused more on entertainment than on pure fashion is a conversation that continues to unfold.
As the audience reacted with applause, it was clear that while not everyone may embrace this new vision, those who do are eager for more.
Naomi Campbell honored in France amid charity controversy
Iconic British model Naomi Campbell was awarded a prestigious honor in France, being named a knight in the Order of Arts and Letters at the country鈥檚 culture ministry for her significant contributions to French culture.
However, this recognition comes as Campbell faces scrutiny back home, having been barred from serving as a charity trustee in England and Wales for five years. This decision follows a three-year investigation into the financial activities of her charity, 鈥淔ashion for Relief,鈥� which was found to have been 鈥減oorly governed鈥� and lacking in 鈥渁dequate financial management.鈥�
The Charity Commission, which oversees charities in England and Wales, reported multiple instances of misconduct, revealing that only 8.5% of the charity鈥檚 expenditures went to charitable grants over a six-year period from 2016. Notably, the inquiry uncovered that charity funds were misused for Campbell鈥檚 luxury hotel stays during events in Cannes, alongside personal expenses such as spa treatments and room service.
In response to a question from the AP, Campbell said, 鈥淚鈥檝e just found out today about the findings and I am extremely concerned. We are investigating on our side. I was not in control of my charity; I put the control in the hands of a legal employer. We are investigating to find out what and how, and everything I do and every penny I ever raised goes to charity.鈥�
Alongside Campbell, fellow trustee Bianka Hellmich has been disqualified for nine years after receiving unauthorized payments for consultancy services, while trustee Veronica Chou has been barred for four years. The charity, founded in 2005 to unite the fashion industry in addressing global poverty, was dissolved earlier this year, having raised over $15 million for various causes worldwide.
Despite the controversy, Campbell鈥檚 honor in France highlights her lasting impact on the cultural landscape.
Rick Owens鈥� enchants with gothic splendor
At Thursday鈥檚 show at the Palais de Tokyo, Rick Owens unleashed a captivating spectacle that felt like a dramatic descent into a realm inhabited by gothic aliens. The atmosphere was thick with smoke and suspense as an army of biblical figures marched out in impressive diagonal formations, their asymmetrical knee-high leather boots featuring translucent heels, making each step a statement.
Owens鈥� trademark angular, alien-like geometric shoulders dominated the runway, capturing the essence of his singular vision鈥攐ne that merges dark romanticism with avant-garde aesthetics. The collection was a testament to his ability to blend his gothic instincts with a sense of reverent irreverence, reminiscent of the 鈥渄elicate time鈥� he referenced in previous collections, where beauty and horror coexist.
As the show unfolded, a billowing coven emerged, clad in oversized black priest-like hoods and flowing tulle cloaks that draped elegantly over their forms. Some models donned discreet headscarves, striking a balance between reverence and defiance, perfectly embodying Owens鈥� commentary on societal norms. This juxtaposition echoes his commitment to inclusivity, presenting a vision of fashion that celebrates diversity while challenging conventional beauty standards.
The intricate craftsmanship used in the collection exemplified Owens鈥� mastery. Each piece, from the cloaks to the striking silhouettes, invited viewers to appreciate humble fabrics. This aligns with his insistence that he presents 鈥渢he most excellent aesthetics鈥� possible, recognizing the nuanced interplay between the dark and the light in our world.
While some may find Owens鈥� aesthetic too avant-garde or even gloomy, this show reaffirmed his position as a provocative force in fashion. The theatricality and elaborate design remind us of his role as one of the last independent designers in Paris, navigating the complexities of the fashion landscape with fierce authenticity.
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Associated Press journalist Marine Lesprit contributed to this report
Thomas Adamson, The Associated Press
