2025 was a year of seismic change in the fashion industry – one not unnoticed by the Wallpaper* style team, who, in reflecting on their personal style moments of the year, found joy in the new. There was Matthieu Blazy’s exuberant debut at Chanel; the ‘clarity’ of Jonathan Anderson’s first womenswear collection for Dior; and the ‘fresh and beautiful’ opening act from Simone Bellotti at Jil Sander.
But there was charm to be found in the existing, too: Craig Green’s ‘delirious, psychedelic’ return to the runway in Paris, or Nadège Vanhée’s ‘Second Chapter’ show for Hermès in Shanghai, which unfolded against the city’s futuristic skyline. ‘It made for an arresting spectacle,’ says Wallpaper* fashion & creative director Jason Hughes. ‘The kind that you feel lucky to have witnessed.’
In this spirit, the Wallpaper* style team reminisce on their personal style moments of 2025.
Jason Hughes
‘This year was undoubtedly about the debuts, and I really felt like the combination of Matthieu Blazy at Chanel and Jonathan Anderson at Dior – despite being distinct in their visions – set fashion’s new mood, and captured the feeling of a slate being wiped clean. Both had a clarity of vision that was exciting to watch: at Dior, I loved the focus on form – and the brilliant accessories – while Chanel had a feeling of joy and energy, bolstered by great clothes and craft (I was a huge fan of Blazy’s work at Bottega Veneta). I’m excited to see the two designers’ vision unfold in 2026 – particularly their debut couture shows in January.
‘On a personal front, I also loved travelling to Shanghai for Hermès’ “The Second Chapter” show – a continuation of Nadège Vanhée’s A/W 2025 womenswear collection for the house. I loved the cleverly layered and stacked-up looks – sweaters around the waist, bags across the chest, leather water bottle holders slung from bags. It played out in North Bund Bay on the banks of the Huangpu River in a specially constructed structure: as the show began, a series of shutters swung open to reveal Shanghai’s glimmering, futuristic skyline beyond. It made for an arresting spectacle – the kind that you feel lucky to have witnessed.’
Hermès A/W 2025 ‘The Second Chapter’ show in Shanghai
(Image credit: Mengxiang Wang)
Jack Moss
‘2025 has proved a landmark year in fashion, notable for the number of debuts which dominated headlines and social-media feeds (whether positive or negative, online commentary has been passionate). For sheer spectacle, it was Matthieu Blazy’s Chanel: stepping into the Grand Palais, which had been transformed into an enormous simulacrum of the solar system, was true take-your-breath-away stuff. The collection itself had a feeling of levity, encapsulated by Awar Odhiang’s gleeful spinning finale – she was undoubtedly the model of the season. On the other end of the spectrum was Simone Bellotti’s debut at Jil Sander – eschewing theatrics, he showed in the stark-white surroundings of the brand’s Milanese headquarters. I loved the collection: sharp and sensual, with the intriguing proportions that he brought to his previous role at Bally, it was the type of collection that you immediately want to wear everything you’d seen.
‘Smaller in scale, but no less impactful, was Craig Green’s return to the runway – a delirious, psychedelic outing that looked towards The Beatles and 1960s bedsheets for inspiration. It was an honour following the collection’s progress in the October 2025 ‘Long View’ issue of Wallpaper*, from his showroom in London’s Docklands to the Paris runway. “Creativity is how everything moves forward,” he told me. “You need creative thought for things to progress, and for new things to happen. You have to have the freedom to make mistakes, to create work and not live in fear.” In our increasingly algorithmic society, they seem to be words to live by.’
Backstage at Craig Green’s S/S 2026 runway show, as featured in the October 2025 issue of Wallpaper*
(Image credit: Photography by Kalpesh Lathigra)
‘As a native New Yorker, I was pleased to see Matthieu Blazy bring his first Métiers d’Art show for Chanel to the New York subway – even if it was a little more cleaned up than the cross-city commutes I’m used to. Taking place on the platform of the now-disused Bowery station on the Lower East Side, the collection was every bit as exhilarating as his much-discussed debut show in Paris earlier this year, conjuring a fantastical cast of characters you might encounter on the New York street – from Upper East Side ladies at lunch to those headed to the office. It was a joy – and made me excited to go back this Christmas.
‘As for what I’m taking from the runway into my own wardrobe, it has to be the stacked-up charm bracelets and belts of Michael Rider’s first two collections for Celine – they appeal to my magpie-like sensibilities, and have got me searching out charm bracelets of my own. Beauty-wise, I was seduced by the dishevelled hair and stripped-back make-up of Prada’s A/W 2025 show – courtesy of Guido Palau and Lynsey Alexander – which gives an excuse for a just-rolled-out-of-bed look I’m tempted to embrace come January.’
The ‘dishevelled’ beauty look of Prada’s A/W 2025 womenswear show, by Guido Palau and Lynsey Alexander
(Image credit: Courtesy of Prada)
Orla Brennan
‘My favourite fashion moment of the year was Simone Bellotti’s debut for Jil Sander. The shades of blue and red, the sharp silhouettes, the casting – including Guinevere Van Seenus, who appeared in the brand’s early campaigns. It just felt so fresh and beautiful as it came down the runway. I’m really excited to see where he takes the brand next.
‘As a side note, I’ve also loved listening to the music that soundtracked Wanderlust, a film shot in Hamburg he released for the brand over the summer. It’s a particularly calming kind of astral electro by Bochum Welt, and is the perfect soundtrack for wandering through a city.’
Guinevere Van Seenus walks in Jil Sander’s S/S 2026 runway show, Simone Bellotti’s debut
(Image credit: Courtesy of Jil Sander)