SS25's lack of expected eccentricity, on a tactile level, was difficult.
Before the show got underway in the opulent lobby of 50 Hudson Yards, a question was fielded to SS25 attendees: “In one word, how would you describe Kim Shui?” Answers ranged from “flirty” and “cutesy” to “diva” and “cunt.” Spot on indicators for the Ghost of Kim Shui past, these adjectives weren’t all that present on Saturday night. What descended down some 40 steps of a glowing Norman Foster staircase was a range of looks that straddled the world of Kim Shui and something new.
Inspired by the age-old Japanese pottery gold-mending tradition of Kintsugi, Shui set out to render resiliency and reformation, the process of rebirth. “I like the idea of it being this unity,” Shui told Vogue. “That something comes out more beautiful than before.” In some ways, she achieved just this.
When compared to past collections of hot pink satin qipaos and tufted organza corset dresses, SS25 felt like a caprice to a muted era of the brand. The first seven looks were mostly, if not all, black, a color unusual in Shui-world. And unlike the customary flounce and flow found in her garments, Shui introduced plastic-like floral molds reminiscent of Wedgewood reliefs which dotted the collection as bustiers and neckwear.
Well-fitted brown crinkled leather and trusty embroidered satin shouldered the best looks as Shui nodded to her usual suspects: lace-up closures, corsets, and uber-mini dresses. On the other hand, what appeared to be printed chiffon and another sequined, tie-dyed fabric made for less palatable pieces that teetered on feeling dated. Of the 34 looks, only about half felt on-brand, most identifiably Kim being 8, 22, and 26 — least, look 29.
In addition to the garments, exactly half of the looks were paired with chunky retro Nike trainers. It’s not the first time Shui has collaborated with the sportswear big-leaguer, but the hefty swish presence certainly tipped the scales toward casual rule on attire. SS25 isn’t reserved for carpets or clubs, or even the girls. The brand made a soft-launch into the menswear sphere this season with its first-ever men's pieces, which were worn by Jake Fleming in his runway debut.
Nothing, however, was casual about the vision of 4’11” Olympic gymnast Jordan Chiles closing out the show in a blue and white capped-sleeve leotard with a train. Her presence jogged the memory of Olympic vigor and athletic excellence, which was another inspiration for Shui this season. While Chiles was busy going gold in Paris this summer, Shui was there too, taking notes of Matthew Barney’s “Secondary,” an exhibition that explores the brutality of sport and the fragility of the body, which she noted as another influence for this collection.
Fittingly enough, one of the front-row attendees was UConn basketball point guard Paige Bueckers. Though the NCAA poster child might have seemed unseemly beside the likes of Tia Corine, the Clermont twins, or Honey Balenciaga, her presence fit with the themes of the night, as well as Shui’s previous work with athletes.
Yet despite such muses ingested into the design process, SS25's lack of expected eccentricity on a tactile level was difficult. While her lean into the casual will surely help her cast her consumer net much wider, this season felt like a hazy limbo that has yet to muscle out from between what Shui has been and where she’s going. Hopefully, this is just her training period. 🌀 5.2
Sophia Scorziello is a freelance writer from Connecticut who misses living in Los Angeles. Follow her on Twitter for unsolicited takes and Spotify links.