A scarf changes nothing and suddenly everything. That is the measure of real style, says SAKSHI PRIYA

There’s a shift sweeping through spring fashion, not in silhouettes or cuts, but in something far more subtle, poetic and surprisingly radical. The scarf is back.

Yes, the same swatch of fabric once associated with grandmothers, intellectuals, or 1950s screen sirens has reclaimed its place on runways, sidewalks and social media feeds.

The Softest Flex

Scarves are showing up in chiffon, silk, cotton voile, sheer mesh, and recycled synthetics. They’re being tied tightly around necks like punky collars, draped loosely over shoulders like wearable poetry, or knotted on wrists, bags, belts-even heads. What’s behind the shift?

At Paris Fashion Week, brands like Loewe and Dries Van Noten sent male models down the runway in transparent tunics offset by knotted scarves-some embroidered, some glittered, others plain but elegant. In India, designers like Sabyasachi and Antar Agni have leaned into fluid scarf-draping as a gender-neutral code for years, now gaining global traction.

At Hermès, it emerged beneath crisp collars, tied in languid folds that altered the way garments moved. At Dries Van Noten, gauzy layers offset precision tailoring, creating tension between softness and structure.

In Copenhagen, scarves were integrated into separates, appearing not as accessories but as design elements with their own spatial integrity. There is a shift at play, not in trend alone, but in the way designers are thinking about movement, continuity, and elegance without force. The scarf today functions with quiet strength. Folded into waistbands, looped into open collars, or knotted loosely across the shoulder, it adds dimension without dictating terms. Materials vary — cotton, silk, voile, organza — but the outcome is consistent, an added layer of intention. It offers a different pace, one that encourages pause, both in how it is worn and how it is observed.  The tone is unhurried, the gesture refined. And it has found new meaning across wardrobes that are becoming more expressive through restraint rather than embellishment. The scarf is no longer employed to finish a look, it often initiates it. At its most effective, it sets a tone that garments around it follow. There is also a certain familiarity about its return. A scarf, after all, is worn close. It adapts to skin, absorbs scent, captures moments. It moves with its wearer and, over time, begins to hold shape and softness that reflect personal history. It has a habit of disappearing into the life of the individual — something few fashion objects can claim.

Cinematic Ease

Walking near Khan Market, Delhi last week, I noticed a man leaning against a railing, dressed in indigo linen. A printed cotton scarf hung from his neck, one end slightly longer than the other, the fabric softened by wear. I asked what made him reach for it. He replied, “Without it, the look feels incomplete. The fabric finishes the sentence.” There was nothing rehearsed in his answer. Only clarity, and an ease that suggested practice.

In cinema too, the scarf once held a quiet confidence. During the 1990s, across a range of global films, the scarf appeared regularly on screen — tied, folded, slung over shoulders or wrists. In Indian cinema, actors wore them with effortless precision. In European films, one would often spot a loosely draped scarf on characters who carried their style without affectation. What sets today’s usage apart is its ability to merge with diverse wardrobes without looking borrowed. The scarf appears in cities and climates of every sort. It rests alongside sharp tailoring or minimal separates. It drapes over crisp shirts as easily as it folds into a soft jumper.

There is no formula guiding its use, which is perhaps why it feels so relevant again. Some wear it close to the skin, others let it fall loosely with movement. In several recent editorials, scarves replaced tops altogether — knotted into bandeaux, tied behind the neck or wrapped diagonally across the chest. Elsewhere, they were worn under coats in translucent fabrics that created layers of shadow and colour, changing the impression of the garment from every angle. In the end, its relevance lies in how effortlessly it becomes part of the wearer’s day, folded into routine, drawn into memory, and worn not for reaction, but for self-definition.

Styling the Scarf in 2025

If you’re imagining a long, rectangular wrap flung around the neck, think again. Today’s scarf game is more inventive:

• The Micro Scarf: A short silk square tied tightly around the throat, worn with an open shirt or a tank top.
• The Head Wrap: Genderless and cool, especially when paired with oversized sunglasses or utility jackets.
• The Belted Scarf: Scarves worn through belt loops or tied at the waist-unexpected and elegant.
• Layered Drapes: Multiple sheer scarves layered into a look, worn over a tee or under a blazer.
• The Statement Scarf: Big prints, fringe, or even metallics-worn over monochrome outfits for visual punctuation.

Designers are even blending scarves into clothing-a shirt with scarf collars, a jacket with built-in neck drapes, tunics with side knots.