Sugarless Takes: PFW Day 4 Full Meal List

Paris Fashion Week Day 4 was all about bending the rules of identity reinvention. It was another intriguing day, with the spotlight mostly on Chloé for breakfast, Rick Owens for afternoon tea, and Schiaparelli for dinner. In between, there were some notable "snacks" — Rabanne for a quick lunch, Hodakova for once again proving that anything can be converted into a garment, and Christopher Esber, who presented a collection inspired by flamenco.

BREAKFAST AT CHLOÉ

This ultimate It-girl brand under Chemena Kamali is evolving, making it impossible not to picture ethereal women like Florence Welch wearing looks from the Fall/Winter 2025 collection. Doechii also attended this show, and this is one of the brands that suited her best.

Chloé’s identity is clear to everyone—it dresses a specific type of woman with a distinct style: the one who pulls together outfits from an overflowing closet with effortless charm. She never tires of timeless silk slip dresses reminiscent of Karl Lagerfeld's '80s era, pairs fluid tops with bootcut jeans, and layers them under a long vintage coat with padded shoulders, throwing in a thrifted fur stole for good measure. The woman who loves Chloé likely embraces an ambiguous aesthetic, defined by the treasures in her wardrobe rather than fleeting trends.

Image credit: Vogue Runway

LUNCH AT RABANNE

Paco Rabanne (I refuse to call it just Rabanne) delivered a collection proving that you can put paillettes on everything. Wool blazers featured paillette lapels, curved wool skirts had metallic inserts, leather midi skirts sprouted tiny plastic embellishments, and lace embroidery adorned shimmering dresses. There were even protruding fur details emerging from skirt hems—though that last one felt a bit odd.

Rabanne has always been about unconventional materials, and it was interesting to see the brand pushing its footwear game further—a standout being a leather ankle boot encased in plastic, my personal favorite. However, silhouette-wise, the collection fell a bit short. The intricate details required a closer look to be fully appreciated, and the signature drama of archival Paco Rabanne collections was noticeably absent. It felt as if the brand was leaning toward a more mainstream silhouette that is currently working at the moment.

Image credit: Vogue Runway

MID-AFTERNOON SNACK AT HODAKOVA

The queen of upcycling returned to Paris Fashion Week. Hodakova is a perfect example of an LVMH Prize label that has carved out a distinct niche. Her vision is unmistakably unique.

I’ll ignore the closing look (clearly a press trap), but overall, Ellen Hodakova Larsson's knowledge of Martin Margiela is evident, she studied him and we can tell. Her approach to tailoring is never banal; there’s always a distorted element, whether it's repurposing a pants pattern into a dress, skirt, or even a headpiece. An ongoing fascination with belts has already become a signature (that belt bag remains unforgettable). This season, they appeared at jacket sleeves and skirt hems—pieces I would happily pay to wear.

Image credit: Hodakova

BINGE AFTERNOON SNACK: CHRISTOPHER ESBER

This collection could have been seasonless—many of these looks could be worn as soon as early summer. Christopher Esber, the Australian designer who has firmly established himself in Paris, has mastered minimal silhouettes and casual draping.

His signature slinky knit dresses and twisted details are effortlessly wearable. Learning that this collection was inspired by flamenco made the mantón-inspired hemlines all the more striking. Unexpected cuts further elevated the designs, making everything even more desirable.

Image credit: Vogue Runway

BLACK TEA AT RICK OWENS

You can never disagree with Rick Owens' perspective on this industry. For the second part of his Fall/Winter 2025 collection, Concordians, he reaffirmed not only the unwavering loyalty of his clientele but also the strength of his artistic community. Rick consistently opens his platform to support other creatives, and not centering his brand on his ego is what makes him so loved in this industry.

His womenswear collection was, once again, an ode to his Concordian team, proving that sometimes the best creations arise in isolation. Having visited Concordia when I worked at Rick Owens, I can confirm: it is, indeed, in the middle of nowhere. But you don’t mind—the tranquil environment Owens built is self-sufficient, allowing creativity to flourish away from the chaos of cities like Milan. Sometimes, too much noise can stifle inspiration.

Rick Owens' Concordians collection showcased collaborations with five artists who have become integral to his work. Victor Clavelly (creator of those feather boots from menswear FW25), Straytukay (responsible for the viral inflatable boots from FW23's Lido collection), Tanja Vidic (who reintroduced her experimental knits, as seen in SS25 Hollywood), Matisse Di Maggio (whose frilled natural rubber tops and hoodies returned from menswear), and Leo Prothmann (who brought leather chaps to the footwear lineup).

Image credit: Vogue Runway

DINNER AT SCHIAPARELLI

Schiaparelli Ready-to-Wear was the only show where Gigi Hadid walked the runway. If she returned just for Daniel Roseberry, that speaks volumes. The house of Schiaparelli has regained its prestige, reviving haute couture's cultural relevance. It’s proof that the true essence of fashion is still alive (thank goodness).

Daniel Roseberry is a master at selling the fashion dream, and everyone wants to be dressed by him. Schiaparelli is one of the few brands that hasn’t relied on commercial compromises to succeed in ready-to-wear. Instead, its couture collections continue to drive its momentum, which, deep down, is every creative director’s dream.

For Fall/Winter 2025, Roseberry delivered a collection that was both formal and modern. It seamlessly merged elements from various decades—from the '40s to the 2000s—making the designs feel relatable and desirable. Who wouldn’t want to wear these pieces?

Image credit: Vogue Runway