Ganni’s Ditte Reffstrup said she was thinking about a sense of belonging more than a specific place when she landed on home as the theme of the fall 2025 collection. This is the second time the Danish brand showed in Paris, and her words seemed to apply to the collection as well as Ganni as a whole. A preshow chat revealed that Reffstrup was also thinking about where the brand resides within the broader hierarchy of fashion where the extremes (luxury and high street) are better defined than the middle, where Ganni sits.

Transitioning from one’s home turf to new ground isn’t accomplished in a day, or a season, but the geographical change seems to have invigorated the team and challenged them to raise the bar. “I think we have explored the creativity much more,” said Reffstrup, and indeed the tailoring of a navy peacoat with barrel sleeves looked impeccable, and the carefully frayed tapestry panels applied to a pair of jeans was artful. I’ve written before that Ganni is growing up alongside its customers, but there was a newfound sense of maturity in the fall offering and its presentation. This season, the collection had a visual cohesion, a sense of development and exploration of an idea, that had previously been missing. That said, the skate skirt–over–pants trope was repetitive.

Reinforcing the theme, the show was held at Hotel Pozzo di Borgo, which Karl Lagerfeld once called home, and inspiration was taken from interiors. Window treatments informed the tucking and draping that was used throughout the collection, and interior textiles, like the abovementioned tapestry and warp-printed wallpaper florals, were used. “Ganni has always been about flowers and prints, and then somehow we left that a little bit, and we wanted to reintroduce them, working with those elements in a different way,” Reffstrup explained. Other Ganni-isms included animal patterns (that suede-look tiger print was actually denim and checks, including a lumberjack plaid in apple green). A corduroy suit and tweed jacket with lining-fabric sleeves introduced a touch of country; the clodhopper shoes referenced the Swedish clogs Reffstrup likes to wear in her garden. In contrast, the closing looks, many with pilgrim-like collars, had an unexpected austerity. 

One of the reasons Reffstrup was drawn to a cocooning and protective theme is because she finds that “the world is so noisy right now.” When she lived in Paris many years ago, she said that not speaking the language was very lonely, but that it was also “such a special time… I was just walking around the city, and I remember when I came home, I would open the window and listen to the sounds of the city.” She found them a comfort. Danish artist-composer Frederik Valentin took that into account when composing the original soundtrack for the show, which included recordings he took of “the sounds of Paris streets and footsteps” and the lyrics “Home is what I find when I look into your eyes / I find a lightness in your smile in a heavy world.” These words are in sync with Reffstrup’s instinct to feather the nest this season. “I really hope that people will feel the softness of the collection when they see the show with the cast and also the music,” she said. “We were really trying to create beauty paired with protection.” Those vibes came through.