With Riyadh Fashion Week 2025 recently concluded, I reflect on the six-day festival where tradition and modernity met to create a new language for Saudi fashion. I also explore the backlash that this event, which is not customary for Saudi to host, received.
This event was hosted in the same week as the Riyadh Comedy Festival, which led many British comedians who took part to be accused of endorsing the Saudi regime. Social media influencers and celebrities who took part in Riyadh Fashion Week were also criticised, and many guests turned down offers, citing human rights concerns.
Critics, such as Ahmed Benchemsi, (Human Rights Watch’s Communications and Advocacy Director for Middle East and North Africa), argue that Riyadh Fashion Week was an attempt to gloss over the nation’s awful human rights record and a chance to rebrand the nation’s image in response to increased negative international perceptions. After all, it has always been London, Paris, Milan, and New York that have been the fashion capitals of the world, with decades of experience in this sector over Saudi Arabia.
Regardless, it’s undeniable that this year’s event was also a celebration of Saudi identity as distinct from other nation’s fashion weeks. Core features of this year’s fashion show, such as the focus on sustainability, the incorporation of technology, international collaborations and most importantly, the spotlight on local Saudi brands, meant that this year’s event was not merely a fashion show but a cultural revolution.
Across six days, Riyadh Fashion Week showcased runways and presentations from 45 brands, which integrated both traditional and contemporary designs. The week’s schedule of runway shows honoured Saudi identity, craftsmanship and innovation. From streetwear to jewellery, the collection presentations showcased a detailed scene of Saudi talent.
International Collaborations and Criticisms
For the first time, Riyadh Fashion Week opened its calendar to international brands, with special attention given to icons like Vivienne Westwood, whose opening show was given centre stage, and Stella McCartney, whose landmark show at King Abdullah Financial District (KAFD) closed the week with an emphasis on sustainable luxury. Participation from such high-profile international brands (despite the condemnation they received as a result) signals Riyadh’s increasing relevance and visibility in the global fashion scene.
Among critics was Vivienne Westwood’s granddaughter, Cora Corré, who publicly criticised the brand’s decision to work with the Saudi Fashion Commission, claiming that such a decision went against her late grandmother’s principles. In a statement to The Guardian, The Vivienne Westwood label responded, “Our decision to show in Riyadh is not an endorsement of any government or its policies. Rather, we see fashion as a platform for cultural exchange – as a way to encourage dialogue, build understanding and create space for diverse voices to be seen and heard.” The label collaborated with local artisans for its gown collection to incorporate regional Saudi designs, showcasing local talent by adding an Arabian twist to its signature punk-romantic aesthetic.
Stella McCartney chose Riyadh Fashion Week to highlight its efforts in building a more responsible fashion industry, evidenced by its international partnership to promote sustainable textiles and its project to encourage the recycling of clothes in shopping centres. Closing with such a message cemented Riyadh Fashion Week’s reputation as a serious platform that raises the issue of ethical fashion and conscious creativity.Yet for many critics, Riyadh Fashion Week’s ethical messaging came across as hypocritical, as they deem the country’s human rights record as anything but.
Was Riyadh Fashion Week an attempt at ‘Fashionwashing’?
Human Rights Watch and Amnesty International both claim that, under Crown Prince Mohammed bin Salman’s Vision 2030, the government is using entertainment and pop cultural events as tools to sanitise its “abysmal” human rights record and rebrand its public image.
The Saudi government has been accused of repressing dissent and subjecting many to harsh sentences for online expression and criticism of the government. Human Rights Watch had pointed to issues such as arbitrary arrests, torture, enforced disappearances and unfair trials. Additionally, while migrant workers make a significant part of the labour force, human rights reports have highlighted their continued exploitation and abuse under the kafala (sponsorship) system.
Ahmed Benchemsi, (Human Rights Watch’s Communications and Advocacy Director for Middle East and North Africa), criticised the Fashion Week, claiming that billions are being spent in PR efforts to “enhance” the image of Saudi Arabia worldwide. He notes that these events are “meant to divert international attention from the kingdom’s gruesome human rights record” but that “No amount of fashion shows can whitewash those abuses.”
By attracting international attention, Riyadh Fashion Week is only one of many high-profile events that has rebranded Saudi Arabia’s reputation and image on the global scene. However, as mentioned before, whether Riyadh Comedy Festival, The Red Sea Fashion Week (which featured the country’s first-ever swimwear fashion show), or Riyadh Fashion Week, these events only serve as a form of “fashionwashing” that attempts to distract attention, especially the media’s, from the country’s political repression and human rights record. A record that includes the killing and dismemberment of journalist Jamal Khashoggi and war crimes in Yemen.
Perhaps the case mentioned most in relation to Riyadh Fashion Week has been that of Manahel al-Otaibi‘s imprisonment, who was sentenced on a charge related to her choice of clothing. However, despite such cases, I’d argue that there has been a cultural shift and relaxing of social restrictions. Most notably, the law requiring women to wear head coverings was suspended in 2018, which has allowed for more diverse fashion expression compared to previous years.
Additionally, while critics have been quick to cite the issue of women’s rights, female designers are thriving, and, in taking up 52% of roles in the fashion sector, it is women who are dominating Saudi Arabia’s fashion scene.
The Saudi Fashion Commission, which organised Riyadh Fashion Week, not only invited international guests, but also took this opportunity to shine a spotlight on Saudi designers , giving them visibility on an international scale. In the past, they have also run initiatives such as the ‘100 Saudi Brands’ and the ‘Fashion Incubator’ programmes to empower emerging designers and brands. Therefore, as expected, this year’s event included 30 runway shows from a diverse range of Saudi designers and both sponsored established Saudi brands, such as Abadia and Tima Abid, as well as providing a platform for emerging designers.
Eveningwear and Streetwear Collections by Saudi designers
Tima Abid opened the couture presentations with an emotive ‘Grief as Grace’ collection of hand embroidered gowns, centred around the theme of sorrow, and adorned with velvet, sequins and lace. At first glance, as someone who’s accustomed to London Fashion Week’s bold, bright and busy collections, I found it peculiar that Riyadh Fashion Week used sorrow and grief as an opening theme to set the tone for the events. However, the collection was a tribute to Abid’s late mother and explored how she used art to cope with her bereavement. Opening with such a powerful presentation demonstrated how fashion is a form of catharsis and a means to express and process one’s emotions.
Other designers like Abadia, layered silk and velvet fabrics in tunic pieces and paired loose fitting trousers with long tops and coats. These outfits, prioritising both comfort and modesty, demonstrated that while the garments are beautifully crafted, they also take practicality into account. To me, it seemed that the layering of garments also sent a subtle message that one can still maintain principles of modesty without sacrificing a sense of individuality and self expression. Additionally, in many pieces, Abadia and other designers incorporated Sadu embroidery, revitalising Saudi heritage in their modern designs.
Adnan Akbar’s , ‘Oasis Legacy’ collection featured an amber, ivory and brown colour palette for gowns with sculpted bodices and flowing silk skirts. Each silhouette balanced both structured and flow. Such precise control over the form and fabric, especially when working with delicate and soft fabrics such as silk, jacquard and velvet, points to the expert tailoring and high leveled technical mastery behind each gown, exhibiting Saudi heritage and craftsmanship.
Similarly, Ashwaq Almarshad’s collection, ‘The Authenticity’, included tailored yet loose-flowing abayas and Kaftans, each detailed with metal embroidery that elevated these garments to a work of art. Motifs on other gowns included crystals of the altaifi flower and shells, each gown telling a distinctive Saudi story. Such meticulously tailored gowns also showcased Saudi sophistication as designers demonstrated their mastery in traditional embroidery techniques like Hashu, Nakda, and Zari embroidery. Arwa Alhamri also highlighted Saudi talents in ancient embroidery techniques with her depictions telling stories inspired by the Kingdom’s wildlife such as the Red Sea, but additionally called attention to Saudi innovation by incorporating laser cutting and 3D printing technology.
Ready-to-Wear and Streetwear categories demonstrated the confidence and evolving style of Saudi youth, making the event not only a cross-cultural celebration, but a cross-generational one too.
Modest-wear brands like Leem tied heritage and modernity through contemporary designs on traditional bishts and farwas. The bisht-style overlays (a traditional Saudi cloak) included in the design of a modern gown silhouette was an innovative ode to Saudi heritage. Hindamme’s designs also blended Saudi heritage with a contemporary outlook and included a T-shirt with the words “Saudi Arabia is the Future”, bridging local culture and global fashion. Although, London Fashion Week, or any other Fashion Week for that matter, has never felt the need to display T-shirts asserting that “London is the Future” or “New York is the Future” – perhaps because they know that they already are the trend-setters and the future of the fashion industry.
It’s important to note that Hindamme, Mohammed Khoja’s brand, previously designed a jacket named “24 June 2018” , which was acquired by the Victoria & Albert Museum in London for their permanent fashion collection. The name of this jacket marks the date that Saudi women were allowed to drive. However, Loujain al-Hathloul (one of the group of women activists who drove before the ban was lifted), was only set free in February 2021 after more than 1,000 days in prison. Currently, other female activists who protested against the ban are still detained.
Was Riyadh Fashion Week solely a ‘cultural’ event to celebrate clothes?
This event went further than fashion for fashion’s sake. Beyond the cultural impact, Riyadh Fashion Week 2025 was a vital hub for economic growth, with the Saudi Fashion Commission announcing that the Kingdom’s fashion market is to reach $32 billion by the end of 2025. Additionally, this year’s Fashion Week attracted many international buyers and investors, consequently supporting the Saudi government’s Vision 2030 strategy, which looks to diversify the economy and reduce dependency on oil.
Ultimately, it’s clear that Riyadh Fashion Week 2025 was a cultural and also commercial endeavor, to promote a ‘modern’ and ‘open’ image of the country, and in doing so, increase tourism and foreign investment to diversify the economy. However, human rights groups remain adamant that this week was mainly a deliberate attempt at fashion-washing and rebranding Saudi Arabia’s image on the global scene.
For myself, this week and other large-scale cultural and entertainment events do come across as calculated public relations tactics to rebrand the nation’s image. My first thought is to recognise that the glamorous image that this week’s fanfare presented to the rest of the world is a stark contrast to the realities faced by many migrant workers within the Kingdom.
I also cannot help but recall a previous Elie Saab fashion show hosted in Saudi Arabia, where models danced around a black cube resembling the Kaaba. Such a scene caused outrage among many Muslims, especially since it was a Muslim nation that had permitted such a show. It was therefore unsurprising to me that some people I knew who have always been interested in fashion, wanted nothing to do with Riyadh Fashion Week 2025.
Additionally, I felt uneasy reading that the Saudi Fashion Commission was investing billions into fashion. I found myself asking “Is this moral?”. I felt ashamed that amidst ongoing conflicts and bloodshed in many Muslim nations, Riyadh would choose to direct their focus on playing “dress up”. I find it insensitive to indulge in extravagant celebrations during a period of intense suffering experienced by other Muslims in the region.
I spoke to others who argued that the fashion week, purely because it was hosted in Saudi Arabia, was distasteful, and that celebrities and models wearing revealing clothes was a violation of traditional Islamic values. Such shows, some with far more revealing outfits, are the norm at London Fashion Week, but it seems to many, myself included, that in Saudi Arabia somewhat mimicking these fashion events in recent years, almost comes across as attempts to say “we have caught up,” or “we are like you”.
However, this event, in most parts, was in fact a dedication to Saudi designers. I will always continue to praise their skill and talent. However, one must equally recognise that fashion, like all forms of art, is never apolitical.