We can all agree that fashion tends to be an accurate -and rather revealing- reflection of what is happening all around us. In 2025, the instability shaping our world politically, socially and economically is definitely affecting designers, and it was fascinating to see how Belgians addressed the current Zeitgeist.

When times are challenging, tense and confusing, fashion usually offers us two alternatives. One is complete fantasy and a temporary respite from the upsetting news we keep on hearing. The other is enhanced reality, with clothes that are meant to help and support us within our hectic lives, defined more by their utility than the attention they may gather from others.

For Marie Adam-Leenaerdt, who presented one of her strongest collections to date, functionality is a key preoccupation. Focusing on a palette of subdued grays, she presented clothes that not only felt inquisitive and intellectual, but were sensual and feminine at the same time. Her tailoring was seductive this season, and she offered women fitted -as well as oversized- versions of the office suit, which were anything but dull. The Brussels-based designer crafts beautiful coats, too, and her long camel duffle was a standout piece. These are clothes that will last forever and make women look powerful, without turning them into fashion victims.

For Nicolas Di Felice, whom many consider a minimalist, simplicity should not be devoid of sex-appeal. His collection for Courrèges was revealing, architectural and urban at once, celebrating the confidence of a woman who feels at ease with her own body. The clothes looked like they were spiraling around the female form and underlining its curves, as well as showing skin in unexpected ways. Courrèges himself loved the female body, and liked to use cut-outs and sheerness in his designs. Di Felice managed to strike the right balance between eroticism and authority, not an easy feat to achieve.

One of the most anticipated debut shows was Julian Klausner’s first womenswear collection for Dries Van Noten. A graduate of La Cambre Mode[s] in Brussels, Klausner joined the house in 2018 and was chosen by its founder to take over the artistic direction in December 2024. The pressure was huge, and Klausner did not disappoint his audience, even though some found the collection a bit overstyled and forced at times. Showcased within the opulent salons of the Opéra Garnier, the collection was an ode to bohemians and glamazons, women who collect clothes and have a strong sense of their own personal style. Strangely enough, some of the looks echoed the work of Romeo Gigli and Haider Ackermann, which was an interesting direction for Klausner. While he understood that Dries Van Noten stands for eclecticism and a certain métissage that feels unique, it would be nice to see him present more casual offerings. After all, Dries Van Noten himself could make the most precious clothes look casual and very effortless.

For Anthony Vaccarello (Saint Laurent), who revisited the 1980s, effortlessness wasn’t something he had in mind. With their huge power shoulders, big leather blousons and bright colors mixed together, his women recalled the work of Claude Montana circa 1985. Will women want to wear gigantic shoulders and flower print plastic dresses in real life? This felt more like a collection for editors and celebrity friends, and a strangely abstract exercise coming from Vaccarello. Yves Saint Laurent’s focus was the woman and how to sublimate her character and beauty through clothes. The garments that the models wore this time seemed to overpower them, turning them into 80s fashion sketches.

In a season of many debuts, there were two notable returns to the runway: Véronique Leroy -who was born in Liège- and Christian Wijnants, from Antwerp. In fact, these two designers have several traits in common, privileging real clothes as opposed to extravagant items. Wijnants presented cocooning coats, cozy knits and relaxed tailoring, which were ideal everyday pieces. For Leroy, whose clothes are a mix of playfulness and classicism, fashion is meant to be worn, and everything she showed was elegant, functional and desirable at the same time.

There is, however, one Belgian who managed to nail the right balance between eccentricity and wearability. It was Meryll Rogge, who put her first proper show together within the official Paris calendar. Refreshing, cheeky and refined, her clothes were making fun of bourgeois dressing, with some fantastic lingerie-inspired separates and long dresses. Her outerwear was gorgeous, too, and this was a clear step-up for Rogge whose fan-base has been growing over the past two years. It will be exciting to see what she does next, but this collection stood out by having a style -and personality- of its own.