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The Ultimate Guide To 2025's Hottest Summer Fashion Trends

The Ultimate Guide To 2025's Hottest Summer Fashion Trends

Refinery2919-06-2025

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It can be easy to fall into a fashion rut in the spring when April (and May) Showers make it wet and dreary outside — practical rain gear typically takes precedence over chic looks, after all. But that's not the case once summer rears its head. Sure, we'll still have the occasional thunderstorm, but the sunny, warm forecast makes outfit planning much more enjoyable. As such, it's time to recharge your fashion batteries and feel inspired again. Luckily, the runways provided no shortage of summer 2025 trends to try over the next three months — and beyond.
And if you can't resist partaking in a viral internet trend, you'll have several aesthetics to pick from this season too. For instance, the fisherman look — striped shirts, boat shoes, and bucket hats à la Nancy Meyers — reigned at shows like Sacai and Miu Miu. Now, the nautical style is gaining momentum off the runway, with indie brands such as Everlane and STAUD releasing beachy ready-to-wear and accessories. Meanwhile, the boho revival is maintaining its grip on the masses this summer, thanks in part to Chloé's creative director, Chemena Kamali, who has championed the look since taking the helm in 2023. The gauzy sheer dresses from the fashion house's latest collection are sure to come out to play this season. From sequins to gingham, green and athletic-leaning styles, there are plenty of new trends that will be hard to unsee (and shop for) once you notice them.
Scroll below for a rundown of the summer trends ruling the style scene, as well as corresponding pieces to add to your warm weather rotation.
Sequins are no longer reserved for festive holiday parties or lavish nights out. This season, designers encourage you to incorporate sparkly looks into your everyday wardrobe. Prada, for instance, styled a shimmering silver gown underneath a bright yellow raincoat — because why not look fabulous in a storm? Sandy Liang, on the other hand, debuted a mini dress with a silver sequin top and lace sleeves, offering up something unexpected to wear to your next Saturday brunch. It may seem extravagant to dazzle in the daylight, but as shown by these heavy-hitters, there's no reason you can't.
Summer 2025 Trend: Boho Babe
Chloé
Sienna Miller, Kate Moss …you know where we're going with this. These two early aughts fashion icons embody the modern-day blueprint for the free-spirited look. In 2025, the eclectic aesthetic has been reimagined through a luxury lens. On the aforementioned Chloé runway, romantic lace frocks, billowy separates, and long pendant necklaces arrived in droves. Over at Isabel Marant, Glastonbury-ready fringe dresses, tops, and mini skirts effortlessly swished back and forth down the catwalk. You needn't be at a musical festival to dabble in the trend, though; a sultry see-through or dreamy layered look are essentials for an evening out.
Designers have spoken: Polka dots are summer's It print. Toeing the line between timeless and trendy, the pattern was out in full force on the runways. At Carolina Herrera, looks were splashed with the pattern in classic black-and-white, appearing in the form of matching sets, crochet dresses, pumps, and more. (Side note: Did you catch Meghann Fahy wearing one of the label's older polka dot gowns in Netflix's new hit series Sirens?) Acne Studios made the case for marrying a form-fitting spotted tee with wide-leg denim jeans or shorts. In the wise words of Hannah Montana: "Pop it, lock it, polka dot it.'
Sacai
Nautical, fisherman, coastal chic — whatever you like to call the aesthetic, there's no denying it's at the forefront of fashion this summer. The sea-inspired trend began brewing on the spring 2024 catwalks, primarily at Miu Miu (hello, boat shoes), and has now migrated to our social media feeds. In fact, we have a sneaking suspicion that not a day goes by without scrolling past a fashion person showing off their fisherman sandals or seashell jewelry. For a runway styling approach, take cues from Sacai and wear your Breton stripes alongside tailored white trousers.
Summer 2025 Trend: Sporty Spice
Miu Miu
The industry's love for athleisure is unwavering. Case in point: Technical yet elevated outerwear popped up at Miu Miu (by way of blouson jackets) and Rabanne (windbreakers). The shows also ushered in a new crop of luxe sweatpants, such as the roomy drawstring pairs at Tory Burch, which were rolled up and layered atop equally cute one-piece swimsuits. Any way you slice it, chic activewear is coming for your summer wardrobe.
Summer 2025 Trend: Green With Envy
Gucci
Brat summer may be in the rearview mirror, but designers are keeping the green trend alive and well this year. And not just the Nickelodeon slime-esque hue Charli XCX became synonymous with — other shades, such as emerald, pistachio, and olive, got the runway stamp of approval, seen at the likes of Victoria Beckham, Valentino, and Gucci, among many more. Sorry, butter yellow, you have some competition.
Summer 2025 Trend: Mad For Plaid
Acne Studios
You probably reach for your plaid looks ad nauseam during the fall. This year, however, designers want you to pull the classic pieces out a bit earlier. Acne Studios went all in on the pattern, styling a button-down shirt with a bubble skirt in a contrasting plaid print. Kallmeyer debuted a flirty checkered tank top alongside understated black trousers. Consider this the perfect between-seasons trend to tap into when early September rolls around.

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Olivia Rodrigo leaves Glastonbury on a high
Olivia Rodrigo leaves Glastonbury on a high

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Olivia Rodrigo leaves Glastonbury on a high

Glastonbury saved the best 'til last, with a triumphant set by American star Olivia Rodrigo to close the festival's Pyramid Stage. After the artifice and intensity of previous headliners The 1975 and Neil Young, the 22-year-old stomped her way through a series of crisp, punk-pop anthems and heartfelt ballads about the injustices of young love. She charmed her English fans by professing her love for Marks and Spencers' Colin The Caterpillar sweets; and won over Glastonbury veterans by duetting with The Cure's Robert Smith ("perhaps the best songwriter to come out of England"). "Glastonbury's been my dream festival forever and I can't believe today's the day," she beamed. The set was a crowning moment for the singer, who only released her first single, Drivers License, five years ago. A desperate cry of loneliness, the ballad broke Spotify streaming records in just 24 hours. Then it broke them again. Seven days later, it entered the UK and the US charts at number one, instantly catapulting the singer from Disney actress to fully-fledged pop star. Drivers License cast her as "the sad piano girl" in the public imagination - but she quickly deconstructed that image with a flurry of dynamic, guitar-heavy pop anthems that built on the templates established by Joan Jett, Alanis Morisette and Avril Lavigne. It was those sounds that opened her Glastonbury set, with the crunchy riffs of Obsessed, a self-mocking song about her jealousy; and the semi-autobiographical Diary Of A Homeschooled Girl. Dressed in a white lace corset and knee-high bovver boots, she high-kicked across the stage, whipping the crowd into a frenzy. "How are we doing tonight Glastonbury," she screamed. "I don't think I've ever seen so many people in my life. "Guys, it's the last night of the festival. Are you ready to have some fun?" She undercut the question slightly by launching into Drivers License - but watching the army of young fans holler those lyrics back at her, there was a communal sense of catharsis, at least. The rest of the set balanced her competing impulses: rock chick, singer-songwriter, rabble rouser, strident feminist, heartfelt balladeer. But above all else, she's a music fan. Her decision to duet with Glastonbury veteran Robert Smith, rather than a pop contemporary like Harry Styles or Lorde, flowed directly from her love of 80s British pop. As they played The Cure classics Friday I'm in Love and Just Like Heaven, Rodrigo kept glancing over at Smith, beaming from ear to ear, like she couldn't believe her luck. She added little harmonies to the songs, embellishing without being disrespectful – and Smith seemed to be just as enamoured with Rodrigo as she was with him, watching the rest of her set from the wings of the Pyramid Stage. "He's the nicest, most wonderful man ever and I'm so honoured to play with him tonight," she gushed. That guilelessness worked in her favour. For the audience, it often felt like watching your cool older sister (or your precocious young daughter) up on stage, rather than some untouchable pop star. What's more, Rodrigo needed none of the usual pop star props. There was no choreography. Until the encore, there was only one costume. All she required were the songs and her pin-sharp, all-female band. She charmed the audience even more as she introduced the new wavey So American – a song about the inside jokes she shared with an English boyfriend. "I love England so much," she said. "I love how nobody judges you for having a pint at noon. I love English sweets, all the sweets from M&S, Colin the Caterpillar specifically. "True story: I have had three sticky toffee puddings since coming to Glastonbury. And as luck would have it, I love English boys." England loved her right back, saving their biggest reaction for her encore – a headlong rush through Brutal, All American Bitch, Good 4 U and Get Him Back. She left the stage under a downpour of fireworks, as inflatable balls bounced around the audience and our ears rang with feedback. It was, hands down, the best (and best-attended) headline set of the weekend. Olivia Rodrigo had understood the brief: Bring the hits. Make it unique. And make it personal. Perhaps she'd learned that from Jarvis Cocker, whom she'd watched from her boyfriend's shoulders on Saturday. "To enjoy Glastonbury, you have to submit to it," he advised. Rodrigo channeled that spirit innately. She's welcome back any time. Earlier on Sunday, The Selecter opened up the final day of music on the Pyramid Stage, with an energetic set of punchy ska anthems. Singer Pauline Black, a former NHS worker, dedicated Frontline to her colleagues, saying we'd thank them when we needed their help for "all those knees and all those hips in the not-so-distant future". And the crowd carried her through the band's biggest hit, On The Radio, as her voice cracked on the trilling high notes. "As you can tell, my voice is hurting," she explained. "Are you going to help me?" They didn't need asking twice. Celeste took our breath away with a grungier, angrier sound than the floaty jazz-soul of her debut. The singer, who won the BBC's Sound Of 2020, has taken five years to follow up her chart topping album, Not Your Muse, but told the audience "everything happens when it's supposed to". On the basis of Everyday - an excoriating, paranoid track built around Death In Vegas's 1999 dance hit Dirge - the new material has been worth the wait. Also previewing new material was London soul-pop singer Joy Crookes. Dressed in a striking pink and green sari, she sauntered through the bassy grooves of recent singles Pass The Salt and Carmen, coming across like a latter-day Amy Winehouse. The highlight of her set was the new single Perfect Crime - with a chorus so immaculate that the crowd had picked it up after one refrain. After an unexpectedly nostalgic set from The Libertines, Rod Stewart took to the Pyramid Stage in the prestigious "legend slot". In full lounge lizard style, he played big band arrangements of hits like Do Ya Think I'm Sexy, Maggie May and The First Cut Is The Deepest, full of bubbly blonde backing vocals and endless saxophone solos. Despite promising to "get in as many hits as I can", the set had a wobbly start, with a couple of lesser-known numbers. But he found his groove with 1984's Some Guys Have All The Luck, after which the jukebox served up hit after hit. Ronnie Wood came out for a chummy duet on the Faces' Stay With Me (an obvious highlight) before Stewart closed his set with a maritime singalong on We Are Sailing. He was followed by Nile Rodgers and Chic who, it has to be said, drew an even bigger crowd for their feel-good disco anthems. The song choices were faultless, ranging from Chic's Le Freak and Good Times, to the songs Rodgers produced for Bowie (Let's Dance, Modern Love) and Madonna (Like A Virgin, Material Girl) in the 80s. As they played, a biplane flew over the Pyramid Stage and drew a smiley face and a love heart in the sky. It couldn't have come at a better time. Over at the Woodsies stage, AJ Tracey gave a masterclass in crowd work. "I asked you for a mosh pit and I'm not gonna lie to you, it was weak," he scolded, promising to give the crowd something to really get their teeth into. At that point, Aitch burst onto the stage for the pair's 2020 collaboration, Rain. To say the energy ramped up would be an understatement on par with saying the surface of the sun is a little warm to the touch. The set continued with a clutch of UK rap anthems - Ladbroke Grove, Thiago Silva, Kiss and Tell - turning it into one of the weekend's sweatiest shows. Other standout sets on the festivals' final day included The Prodigy, who dedicated their set on The Other Stage to late frontman Keith Flint; and Jorja Smith, who provided a soothing set of British soul for the festival's more weary revellers. Wolf Alice delivered a crowd-pleasing cover of Fleetwood Mac's Dreams on The Other Stage, but it was their ode to friendship, Bros, that sent the audience into rapture. Old friends, best mates and new-found companions hugged each other and swayed deliriously to the song's "me and you" refrain. The band only played two songs from their highly-anticipated fourth album, The Clearing - but lead single Bloom Baby Bloom was treated like an old friend. 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Simon Wiesenthal Center Slams Glastonbury's 'Bland Response' To Bob Vylan's 'Death To The IDF' Chant
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Although Glastonbury and the BBC have condemned Bob Vylan's onstage comments at the England music festival, at least one Jewish human rights organization is not satisfied with the response. Jim Berk, CEO of the Simon Wiesenthal Center, called out both the festival and the network for providing a platform for the 'disgraceful' performance, in which Vylan led the crowd in chants of 'death to the IDF' and 'free Palestine.' More from Deadline Glastonbury Officials 'Appalled' By Bob Vylan's Anti-Israel 'Hate Speech' Chant From Stage BBC Slams 'Deeply Offensive' Glastonbury Set: 'We Have No Plans To Make It Available On Demand' BBC Avoids Kneecap But Live Streams Another Act Leading Crowd Chants Of "Death To The IDF" & "Free Palestine" 'It was sickening, dangerous and chillingly reminiscent of a modern-day Nazi rally,' said Berk, adding: 'It was public incitement, not performance. The explicit calls for violence against Jews, broadcast live by the BBC without interruption, literally gave hate a stage, a microphone, and the stamp of legitimacy of one of Britain's most respected public institutions.' Berk continued, 'And Glastonbury's bland response? Saying the chants merely 'crossed a line' and offering vague 'reminders' to artists is not accountability—it's cowardice. When confronted with explicit calls for violence against Jews, anything short of absolute condemnation and corrective action is complicity.' Referencing Hamas' October 2023 invasion of Israel's Nova music festival, where 378 were killed and 44 hostages were taken, Berk called the chants 'deeply re-traumatizing and terrifying.' 'This is a moment of reckoning. Festival organizers, media outlets, and artists must choose: will they be platforms for peace, or enablers of hate? Because silence is not neutrality, it is a green light for bigotry,' added Berk. 'Festivals must be prepared to halt performances that invoke hate; broadcasters must air festivals on deferred live and use their kill switch to take hate speech immediately off the air. Never again is not a slogan: It's a responsibility. And it's being betrayed on the world's biggest stages.' Following the performance, the BBC has decried the 'deeply offensive' set, which a spokesperson said they have 'no plans to make the performance available on demand.' A Glastonbury rep has said that organizers are 'appalled' by the chants, which 'very much crossed a line and we are urgently reminding everyone involved in the production of the Festival that there is no place at Glastonbury for antisemitism, hate speech or incitement to violence.' Best of Deadline 2025 TV Cancellations: Photo Gallery 2025 TV Series Renewals: Photo Gallery 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More

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