PARIS (AP) — Diaphanous origami-like sculptures that floated like spring seeds caught in the wind captured the essence of the subtle, rich, and exquisite display from Issey Miyake at Paris Fashion Week — one of the strongest in seasons.

Here are some highlights of Thursday’s spring 2025 menswear shows:

Miyake takes flight

The breathtaking menswear displays in the show “Up, Up, and Away” featured couture-like poetry: seemingly weightless textiles that billowed like parachutes or kites. The garments seemed ready for flight.

In Mobilier National’s cobbled courtyard, the Homme Plissé show Thursday morning took inspiration from all things windy, transforming the elements into wearable art.

The collection was a testament to the deft innovations with fabric techniques by Satoshi Kondo and the Homme Plisse design team.

A vivid blue coat cut a striking figure, with stiff, angular sleeves that contrasted beautifully with the softness of its pleats. This was not just a coat, but a sculptural piece that transformed with the air, reminiscent of the house’s signature romantic approach to silhouettes.

Spring saw garments brought to life, like kites in the sky with voluminous silhouettes created by fastening and unfastening buttons. One standout piece, a pale blue hooded look, billowed like a parachute when the model walked across the cobbled courtyard, its back panels filling with air dramatically.

A beige T-shirt and waistcoat ensemble looked red carpet-ready with its chicly pleated, arrow-thin assorted tie.

The spring show was a poetic masterclass in fusing complexity with simplicity, and when the collection entered to rousing applause, the Paris sun finally peeked out from between the clouds.

Owens celebrates ‘Hollywood’: a glittering tribute to vice and virtue’

Rick Owens floored guests with a surreal Ben-Hur-style galley theatrical spectacle, like a tableau from a Hollywood epic, as he put on a fashion tribute the “boulevard of vice” and model of “inclusivity” – Tinseltown.

The American it-designer reflected on his personal journey there after fleeing his judgmental hometown. Spring, he added, was an homage to Old School “black and white biblical epics, mixing art deco, lurid sin and redeeming morality.”

Cut to a glittering, shimmering, audacious cauldron of hard-edged flamboyance at the Palais de Tokyo. Gym shorts paired with chiffon capes, alongside basketball sneakers, created an edgy blend of streetwear and high fashion. Models stomped on jumbo geobaskets — the size of space boots, echoing the gothic meets glamour aesthetic. Crowns created in an Art Deco style added the necessary haute drama, which Owens loves to court.

Hooded biker jackets worn over silk gazar jumpsuits were bonded, in a wacky touch, with aluminum foil and veg-tanned parchment cowhide. Yes, this choice underscored the designer’s ethical commitment to the environment beneath all his bravado about vice.

It was virtue, not vice, that in fact defined this collection.

Owens emphasized the importance of “unity and reliance on each other” in the face of global “intolerance.” He invited students and faculty from Paris fashion schools, as well as old friends and members of the trans community, to walk in the show, expressing a powerful message of inclusivity and solidarity.