Ganni - AW25

Though Ganni is, once again, showing in Paris for autumn/winter 2025, the Danish brand was thinking of home. Not Copenhagen, specifically, but rather the idea of hominess. “This collection is very much inspired by the feeling of home – what it means, how it moves with you, and how it shapes who you are,” says creative director Ditte Reffstrup. “I wanted to create a collection that reflects that – a wardrobe designed to feel like an embrace.”

To emphasise this point, the show took place at Hôtel Pozzo di Borgo, the place the late Karl Lagerfeld called home for nearly three decades. “The space is full of history, personality, and has this real sense of intimacy, which I love,” says Reffstrup. The show unfolded over several rooms, with models – or Ganni Girls, rather – walked confidently through ornately gilded space, as if casually gliding through their own decadent private residence.

The starting point for the collection itself was the fabrics, inspired by summers spent in England, where Reffstrup’s sister lived. “I remember being so struck by how different the homes felt compared to Scandinavian interiors,” she says. “They were so cosy and charming, with heavy draped curtains and a beautiful mix of fabrics in every room. I think that’s where my fascination with textiles began.” Think sumptuous 3D knits set against vibrant prints – most notably a sweet rose jacquard on voluminous skirts and relaxed trousers. Elsewhere, hand-crocheted jumpers evoke feelings of doilies and retro tablecloths. Also on deck, a from-the-future leather alternative crafted from a byproduct of olive oil and a recycled leather by Pelinova (that trench coat on Danish model Nina Marker is a standout). Elsewhere sustainable sequins made from seaweed, all of which emphasise Ganni's continued commitment to sustainability.

It’s an unpolished magpie sensibility that gives way to Ganni’s signature effortlessness – mini skirts worn over pants, power-clashing galore. The impact is not unlike a charmingly cluttered country home filled with knickknacks and trinkets, textiles, and throw pillows. It’s very Danish, frankly.

There’s something both inherently Ganni and unexpected in the silhouettes, which Reffstrup describes as “bold and familiar”. Dramatic floor-sweeping skirts are paired with chunky sweaters. Sturdy checkered peacoats with gentle balloon sleeves and sharply considered tailoring with asymmetric details bring a sense of refinement to the otherwise eclectic offering. “It’s about pieces that you can just slip on effortlessly, ones that bring comfort but make you feel good – like your most confident self,” says Reffstrup. There are, of course, plenty of dresses – from slim, texture-heavy mini dresses and minimal long-sleeve shifts with cape-like details to a romantic floor-length, tulle frock with floral embroidery.

While Reffstrup appreciates the global stage that Paris provides, Ganni never forgets where it came from – where home is. “It’s never about trying to fit into a certain mould – Ganni will always have that same sense of self-expression and eclecticism that this collection embodies,” she says. “It carries that feeling home with it – like a wardrobe you take wherever you are. That’s the energy we’re bringing to Paris – rooted in who we are but always evolving.” Still, there’s no place like home.

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