From Liverpool Los Angeles, this sweater features:Crew necklineLong raglan sleevesCable stitching detailingPullover constructionApprox. 24.5#double; lengthViscose/polyester/nylonMachine washableImported.

The Row Fall 2025: When You Should Go Out But You’d Rather Be Home

Caroline Rose Bella Soiree Embroidered Mesh Lace 3/4 Bell Sleeve Shift Dress

From CeCe, this top features:Tweed fabricationsquare necklineSleevelessLinedPullover constructionApprox. 20.25#double; in lengthPolyesterDry cleanImported.

From En Saison, this dress features:Knit fabricationA-line silhouetteMock necklineLong sleeves with bell cuffWave striped printBack zip closureApprox. 51.75#double; lengthPolyester ; lining: PolyesterHand washImported.

A show without seats? With the smallest gestures, Mary Kate and Ashley Olsen do have an uncanny ability to capture the zeitgeist. There’s been a lot of discourse lately about how personal technology has created an epidemic of loneliness and left many craving community. But at the same time, we are living in a chaotic world, so over scheduled and overstimulated that staying at home in our own sanctuary often seems like the ultimate luxury. They seemed to be wrestling with that tension between introvert and extravert, private and public life, in The Row’s fall 2025 collection. As for the seats, well there were a few in the salon-style rooms of the mansion on Rue Capucines where they host their presentations, but not enough. And it was an immediate talking point. The idea was to sit as you please, and maybe get close to someone you don’t know, which led to a convivial, casual atmosphere that had editors in chief leaning against the walls, fashion directors sitting cross legged on the floor and an impressive 10 people perched and chattering on a single sofa. You May Also Like But what does everyone do the moment they get home? Kick off their shoes. So the models walked in their stocking feet, some in chic coats with just tights on the bottom which could either read Edie Sedgwick just back from a party, or like a woman trying to decide if she really, truly wants to leave the house and go. What’s the saying? “I want to be invited but I don’t want to come.” Last season, the Olsens put forth studied slouchwear and sportswear, including T-shirts and cotton pants with the drape and texture of a life well lived. This collection was more of a compromise between coziness and formality, with a hint of return-to-office in the subtle nods to “Working Girl” style. Those heavy wool tights were a through line (their legwear category is going to go through the roof), some even worn as an accessory tied around the neck like a sweater. And so was soft dressing, as on a gorgeous gray-beige melange crepe dress with twisted straps over a long sleeve jersey top that managed to look comfortable but pulled together. The designers have perfected the art of the trench; in fact, their romantic side-buttoned A-line Aralia khaki gabardine style has been so influential, it turned up in several other designers’ fall collections. This season they continued to meditate on the classic with shorter lengths and slimmer styles more suited to a commute, and another khaki standout, this time in a papery-thin technical cotton with a boxier silhouette that stood away from the body just so. Tailoring had a conservative bent in keeping with the current fashion trend that has influencers wearing clip-on earrings, knee length skirts and scouring resale for vintage DKNY, all things that many working women were all too happy to jettison with the casual revolution and work from home. No pants, but there were pencil skirts and dresses, oversized mannish blazers, one partially tucked into a long, caramel wrap skirt for a great styling trick, another worn as a skirt, held to the waist with a wide leather saddle bet. Other tailoring was more soft and fuzzy in hairy wool, one total look in salt ‘n’ pepper cashmere tweed all the way down to the matching wooly tights, like a cozy uniform. Collection Gallery 35 Photos View Gallery The collection stayed away from decorative opulence, with just vintage trinkets for jewelry strung on cords around the neck–mussel shells, pepper shakers, and small boxes–like personal talismans or flea market finds. There was also precious little that could be considered evening wear, save for an opulent-in-its-way sleeveless fur dress, or the sexy, scarfy, body skimming nude crepe shell and straight skirt which like much of this fine collection hit home that The Row really is today’s Calvin Klein. (Sorry PVH.)

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