Fashion editors love to say "PFW is a marathon." For us, it was a block party on wheels. Men's SS 26 rolled into Haute Couture FW 25, and everywhere we turned, the Naija spirit followed. Here's the official Deeds recap, straight from our own lens, no outsider POV, no borrowed hype.
We landed in Paris running. Forty-eight hours before a single show note fluttered, we'd already locked Matignon, threw open the doors with YesJulz for the Julz & Friends x Deeds kickoff, and left half the industry stalled outside while Jozzy blended Afrobeats into Jersey club under that red ceiling. YesJulz called it her "favourite event of the week," and the 200-name wait-list outside agreed. Inside, Paris menswear buyers re-did their 9 a.m. agendas on the fly, scrambling to catch up with the energy we'd already set in motion.
The timeline after that reads like a fast-forwarded film. 24 June, our feed opened with Rema stepping out for what would become one of the most documented artist journeys of the entire week. Not even twelve hours later he was back in the spotlight, this time on the runway—424 × Porsche's.
Same show, different angle, Miguel slid into the front row and we caught him in conversation with Guillermo Andrade. Miguel called the collection "classic L.A. rock 'n' roll, clean, confident," and the authenticity of that moment, captured in our reel, showed exactly why these organic intersections between music and fashion matter so much. These aren't staged photo ops; these are real conversations between artists who genuinely respect each other's craft.
By 26 June, Mike Amiri had turned a Left Bank hall into something that felt like a midnight jazz club. Pearl-trimmed varsity jackets, satin pants you could skate in, and an atmosphere that perfectly captured his Los-Angeles-meets-Saint-Germain aesthetic.
The 27th brought us to Bode, where Emily Adams Bode Aujla's SS 26 collection told what we captioned as "a story only memory can write." Heirloom knits met vintage Western shirting in a soft-focus Americana dream that felt both nostalgic and forward-thinking.
That same night, KidSuper repainted an empty lycée corridor, and Colm Dillane's vision was pure artistic chaos in the best possible way. Models pushed wet canvases into the crowd while our lens chased the drip patterns down their sleeves. We focused on what we called "the coolest faces walking straight from the hallways of Colm's wildest imagination," because sometimes the most interesting fashion story isn't about the clothes, it's about the people brave enough to wear them.
By 28 June, Rema was back in our frame, this time shutting down Maxim's in a tiger-stripe knit for Nigo's Kenzo SS 26. The pit suddenly became louder than the speakers, and in our post, we caught him looking "super fly" in that gradient bomber that would later become one of the most-screenshotted looks of the week.
We closed that day deep in 3.PARADIS backstage, where French Montana was learning last-minute choreography for what would be his first runway walk. Designer Emeric Tchatchoua was still sewing a nomad jacket hem while the DJ cued desert ambience, and our behind-the-scenes reel captured that beautiful chaos of fashion week, the way creativity happens right up until the last possible moment. The collection, titled "Steps to Nowhere," featured desert-rider tailoring that felt both timeless and urgently contemporary.
But it was 1 July that gave us our most-rewatched clip of the week. We spent a day with Davido, tailing the megastar from LV fittings to Amiri's backstage, and the resulting reel showed something rarely captured in fashion coverage, the genuine enthusiasm of an artist discovering new creative possibilities. Tour rehearsals could wait when Paris called, and Davido's joy in the process was infectious. Our camera caught him in unguarded moments, the kind of authentic documentation that social media was supposed to enable but rarely delivers.
6 July brought Anthony Alvarez's Bluemarble and their "Blue Dreams" collection. We were front-row for oceanic prints and rippling silks, with a guest list that included Adekunle Gold and other artists who understand that fashion is just another form of storytelling. We matched those deep-sea colors with our own grade and let the carousel breathe, understanding that sometimes the most powerful fashion content comes from giving beautiful things the space to simply exist.
Even with bandwidth stretched across multiple shows per day, we still found energy to salute Lagos from Berlin. Orange Culture's "In the Shadows" debut bled gender-fluid tailoring into techno strobe, and our caption wrote itself because Adebayo Oke-Lawal's voice cracked talking about mental-health stigma. These moments remind us why we do this work—fashion isn't just about clothes, it's about creating space for important conversations.
9 July, we watched Demna strip the drama back to pure silhouette for what was being called his last couture outing at Balenciaga.
Throughout these two manic weeks, every reel we dropped flooded DMs with fire emojis and "outside must be outside" commentary. Our Matignon party posts reached audiences we'd never touched before. The Rema content consistently broke our usual engagement metrics. The Davido reel became our most-saved content of the year. But numbers aren't the headline, the headline is culture.
What we proved in Paris is that Nigerian youth culture isn't a guest at fashion week, it's a co-owner. From the Matignon door list to Kenzo's front row, we moved through Paris on our own terms: messy, joyful, a little unhinged, and 100% ours. We didn't code-switch for European sensibilities or tone down our energy for mainstream palatability. We showed up as ourselves and forced the industry to recalibrate around us.
The traditional fashion media machine still operates on the assumption that legitimacy flows from established institutions to emerging voices. But what we demonstrated, post by post, story by story, is that cultural currency moves in the opposite direction. When Rema walks a runway, when Davido takes meetings, when our crew holds down the front row, we're not seeking approval, we're setting the standard.
The French fashion establishment, to their credit, seemed to understand what was happening. The invitations kept coming, the access kept expanding, and by week two, we weren't just covering shows, we were part of the fabric of the week itself.
Paris Fashion Week has packed up its risers and moved on to the next season, but our calendar's only warming up. Lagos Fashion Week in October will be a homecoming, but also a statement. The energy we brought to Paris, the connections we made, the standard we set, all of that comes home with us.
The block party is coming to Lagos, to Accra, to Joburg, and the world will be watching. Because what we proved in Paris is that African creativity doesn't need European validation to matter. We matter because we exist, because we create, because we refuse to be anything other than exactly who we are. Keep an eye on the Deeds grid. Keep your passport handy. The marathon continues, but we're setting the pace now.
