Patou Spring 2025 Ready-to-Wear collection, runway looks, beauty, models, and reviews.
Guillaume Henry called his collection “Rose,” but it wasn’t just an exercise in color or floral forms, although there were a few bursts in evidence in this spring outing for Patou .
Instead, the designer said, his Rose is a composite portrait of the women who have inspired him. She could be any one of a number of feminine—and feminist—characters in French film, for example the Beirut-born French actress Delphine Seyrig, among many others unfamiliar to non-French audiences. “I wanted to channel a softness and a return to elegance, and as it happens the name Rose is very French and also very international,” Henry noted, adding, “she’s chic, and she’s efficient about it.
On the runway, the designer mixed up signatures associated with Jean Patou—pleated skirts, dropped waistlines, midi lengths—with those of his predecessors: Karl Lagerfeld, Michel Goma, whose work Henry considers unjustly forgotten, and Christian Lacroix, whose famed pouf skirts he revisited here in a leggy millennial iteration.
By the designer’s own admission, the thing about French film and women in love is that their plotlines are virtually impossible to summarize neatly. The ones he had in mind here turn on hope and forging ahead. Henry has been handed hard remit here, so–to his credit–the same could be said about him.
Spring 2025 Ready-To-Wear Runway_Review Runway
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