Mis en avant
SAINT LAURENT FW25
It’s a beautiful day in Paris, not just because it marks the grand finale of a chaotic fashion month but because it’s the most exciting one of all: the Saint Laurent day. In an industry prone to turbulence, Anthony Vaccarello remains a steady purveyor of pleasure for fashion lovers.
Much like last season, where there was a clear distinction between two sequences, the same was true here—only reversed. Last September, powerful, neutral-colored suiting was followed by jewel-hued, lace-layered pieces (the last of which was undoubtedly the look of the season—seen on everyone from Chloë Sevigny to Amelia Gray). This time around, the bright colours came first, with beautifully defined shoulders and straight-hipped dresses in Yves Saint Laurent’s classically bold shades.
The shift that followed was subtle yet striking. The silhouettes remained constant, but the statement emerged in the details—different colours, textures, and transparencies. Blurred floral and animal prints in shiny, sheer midi dresses shimmered hypnotically as models walked down the runway. Complementing the ethereal dresses, leather jackets featured an architectural, boxy structure—not cinched at the waist as one might expect, but resting lower on the hips, adding an unexpected edge.
Moving through the wonderfully neutral venue, the models first marched like colourful ants in a mesmerizing rhythm—until they didn’t. The vibrant short dresses faded into long, neutral-hued gowns and oversized jackets, each still following the same precise silhouette but now exuding a more grounded, composed elegance.
In a season that swung between the daring and the dreary, Vaccarello’s assured vision was a breath of fresh air. His consistency wasn’t just reliable—it was exhilarating.
Words by Pedro Vasconcelos
BURC AKYOL FW25
More often than not, designers like to create collections with a woman in mind – a muse which encapsulates the essence of their brand. For Fall/Winter 2025, Burc Akyol flipped this notion on its head – conceptualizing an offering that became an homage to the feminine qualities within himself.
Aptly titled FEM, the proposition centred around menswear classics, redefined. A power-shouldered blazer in pinstriped navy became a mini dress – worn with a pair of see-through stirrup leggings adorned with gold coins. The glimmering detail was further used in its maximalist iteration on a statement cropped leather jacket, with an abundance of leather straps moving to the rhythm of the soundtrack. A traditionally masc denim jacket became glam through the use of black fur wrapped around the collar.
Akyol is a big fan of sheerness, with some of his most-known designs being created out of diaphanous chiffon. This time around, the silhouettes were reconsidered through accents of vibrant hues, with the brand’s signature slinky gowns featuring hints of cobalt blue and fuchsia.
Words by Martin Onufrowicz
MIU MIU FW25
Oh, how we love it when Miu Miu lets their retro flag fly! Remaining at the very top of the most buzzy brands in the industry, Miuccia Prada decided to steer away from sporty prep that she explored for the past few seasons in place of more traditional elegance.
The opening look – a tight pink knit hugging the bullet bra worn underneath and slinky brown skirt were paired with an assortment of ladylike accessories: a cloche hat nodding to the 1920s flapper style, a fur stole carried on the arm along with a patent leather bag, and pointy loafers worn with over-the-knee silky wool socks. Later in the show, the stole (this time, worn on the neck) revealed its practical detail – pockets to protect hands from the cold – making it a sure bestseller for the upcoming fall.
As for the fur, the material also made its way onto sophisticated outerwear pieces – from a classic shape coat (decorated with a gold brooch) to an ultra-cropped version resembling a bolero. The always-welcome menswear offering for the season was also built around statement coats, with the patent leather peacoat and patinaed suede blazer being our favourite propositions.
Aside from the aforementioned loafers, the looks featured knee-high boots with a buckle, the new shiny iteration of the brand’s popular sneakers, and sky-high open-toe heels (again, worn with the long socks).
There was a sense of welcome familiarity throughout the collection that spoke to us in these unpredictable, volatile times. When things get tough, covering oneself with elements that remind us of our histories can be a source of cherished comfort – the ultimate luxury.
Words by Martin Onufrowicz
CHANEL FW25
In what marks the final collection designed by the studio before Matthieu Blazy makes his much-anticipated debut, Chanel delivered a quintessentially Chanel collection. Not in spite of its transitional nature, but because of it. The Grand Palais was adorned with a giant bow—an overture to the collection’s central motif—around which models circled as if orbiting Chanel’s ever-iconic codes.
The usual suspects were all accounted for: tweed sets, quilted bags, and this time, bows—lots and lots of bows. While the one on the catwalk was undoubtedly the largest, others were scattered throughout the collection, appearing in prints, tucked into models’ hair, embroidered onto garments, and even reimagined as jewelry.
However, even within the brand’s signature vocabulary, there were playful deviations. One of the show’s first looks was a white tweed set layered beneath a black tulle overlay, its billowing silhouette evoking the shape of a gown. This interplay of structure and lightness recurred throughout the first section of the 70-look lineup, gradually giving way to ruffled collars on suit jackets and shift dresses. There were moments of intrigue—like a denim set that seamlessly faded into translucent white edges, a testament to the skill of an atelier whose savoir-faire has sustained the house for decades.
Yes, the anticipation of a new creative force at the helm of one of the biggest brands—not just in luxury, not just in fashion, but of all time—is thrilling. But collections like these remind us that with a legacy as formidable as Chanel’s, we’re in very good hands.
Words by Pedro Vasconcelos
VALENTINO FW25
The bathroom stall is the best place in the club. There’s just so much to do: make new friends, share positivity, and even get a quick workout in. While we choose to remain PG, Alessandro Michele went in the opposite direction. In a Valentino-red set, the designer presented an extravagant yet intellectual collection—an apt setting for a show that reveled in excess and spectacle, borrowing freely from Mr. Garavani’s maximalist archive to conjure a wardrobe for nocturnal hedonists.
Michele’s Valentino is not about restraint. Instead, it’s a heady, hallucinatory vision of glamour—psychedelic office wear saturated with riotous colour and texture, sequins refracting light like a disco ball. There were moments of elegance, of course—razor-sharp tailoring slicing through the opulence, offering a brief reprieve in an otherwise intense lineup. But, even grey structured jackets were paired with shiny collars, long coats with snakeskin pockets. He pulls from history, but rather than preserving it, he remixes it into something feverish and deliriously modern. It’s the kind of fashion that seduces, overwhelms, and ultimately intoxicates. And then, there was the quintessential Michele oddity: an enormous, hyper realistic cat dress that felt utterly surreal.
Michele personifies himself as Dionysus—a conjurer of dancing orgies where extravagance isn’t just opulent but spiritual. The clothes aren’t merely meant to be worn; they are meant to be lived in, worshipped, and paraded under the pulsing lights of a dance floor (or rather, the dim bulbs of a bathroom stall).
Words by Pedro Vasconcelos
LOEWE FW25
In a constant game of fashion musical chairs, some changes make us more emotional than others. Jonathan Anderson’s now-ending tenure at Loewe – the Spanish luxury house he revived over the past ten years – is one of the eras we will look at most fondly.
Teased by a reel posted by the designer on his Instagram (not going to lie, we shed a tear or two while watching it), Anderson’s final collection for the brand perfectly rounded up his singular take on modern dressing. Hosted inside palatial Parisian interiors, the presentation featured a range of mannequins theatrically placed around the grand space.
A group of static “models” showcased some of this season’s most exciting leather jackets and coats, constructed out of strips gathered by belts used as trims. Two tailored suits in sand and navy were juxtaposed with pairs of over-the-knee leather boots that riffed on practical fishing gear. A rainbow of cocktail dresses made out of strings of necklaces created a refreshing idea on nighttime dressing, while draped gowns in cream and lilac showed us for one last time Anderson’s magical touch in construction before he announces his plans for the future.
Words by Martin Onufrowicz
LOUIS VUITTON FW25
In a carousel of fashion week, one thing is for certain. Watching a Louis Vuitton collection will make you feel exhilarated. From the over-the-top staging to an abundance of new ideas, Nicolas Ghesquière knows how to take his audience on a wild ride – one that we can’t wait to get on time and time again.
The Fall/Winter 2025 show was staged in a courtyard of a Parisian tenement house. As the music pulsated through the venue (can we talk about the fact that Louis Vuitton always has one of the best soundtracks of the season?), the models strutted in Ghesquière’s latest fineries.
The collection opened with looks featuring see-through leather trench that resembled plastic outerwear straight out of American Psycho. As is customary with a Louis Vuitton show, Ghesquière gave us more than a couple of coat silhouettes to choose from – a bohemian black velvet proposition was adorned with black ostrich feathers, while the cream cape with black trimming was cinched with a double-bag belt.
Another highlight was the dresses. A black-and-red checkered mini in wool resembled an ultra-big scarf wrapped around the neck. The scarf detail also made an appearance in one of the floor-length gowns trimmed with lace – creating an architectural adornment on the bustier. A grey and red turtleneck dress looked like a futuristic take on a 1980s style (one of the designer’s favourite decades to look back on).
Accessories-wise, hats and shoes created plenty of commotion. Aviator hats were knitted out of the softest wool in pale hues, while a bucket hat was blown up in size and constructed out of sturdy leather. As for the shoe of the season? The wedges with an oversized sole in an array of colours are leading the way.
Words by Martin Onufrowicz
DURAN LANTINK FW25
If there’s one thing Duran Lantink does well, it’s leading headlines. And if his ballooning silhouettes were once the subject of countless articles, this season, he has plunged into far more treacherous waters. In a Severance-like office space—cubes filled with operatic singers—the rubber torso that opened the show wasn’t necessarily shocking (or at least not compared to what was to come). The designer’s growing mark on the industry is one of boundary-pushing. Lantink’s world isn’t about refinement but about redefining the limits of what we think clothes should be.
Patterns clashed with reckless intent, extreme prints battling for dominance within the same look, as if mocking the very idea of harmony. There was no concern for convention, only the thrill of disruption—Leon Dame striding down the runway in nothing but a speedo, boots, and body paint was thrilling, to say the least. But Lantink’s work isn’t just a visual riot—it’s a manifesto against the rigidity of aesthetic hierarchies. Silhouettes warped and redefined themselves, rejecting tradition in favor of pure, unfiltered experimentation.
In a world consumed by the curation of taste, Lantink doesn’t just disrupt—he dismantles. His designs don’t whisper; they scream, provoke, and force us to question our own instincts. And perhaps questioning was precisely the intent behind the final look, where a model walked the runway with a pair of rubber breasts. Was it satire? Was it subversion? Was it a senseless provocation? The point is, we’ll never know—but we’re all talking about it. A conversation has begun, and in Lantink’s world, that’s the only certainty that matters.
Words by Pedro Vasconcelos
McQUEEN FW25
Seán McGirr’s third collection for McQueen felt like stepping through a warped looking glass. And while the set design certainly helped the metaphor, the clothes themselves undeniably complied with the analogy. The past, both in its mythological sense and branded one, was twisted, stretched, and reanimated.
Inspired by Charles Dickens’ Night Walks, the show unfolded like a fever dream of Victorian London. The ghosts of McQueen’s greatest hits loomed large, but they didn’t haunt so much as they prowled. Voluminous short jackets, their proportions exaggerated to near-surreal extremes, swelled with a sense of tension. Intricate bullion embroidery gleamed under the lights like gilded armor, elevating the collection’s dark romanticism into something almost ceremonial.
But perhaps the clearest nod to the house’s legacy was the return of the skull print—an emblem of McQueen’s past, now recast in McGirr’s vision. Not just a symbol of mortality, but of transformation—of an aesthetic lineage being unraveled and reassembled. This wasn’t nostalgia; it was excavation, reinvention, a rewriting of history with a sharper, more brutal pen—McGirr’s boldest statement so far.
Words by Pedro Vasconcelos
ANN DEMEULEMEESTER FW25
On his fourth collection at the helm of Ann Demeulemeester, Stefano Gallici has calcified his approach to the brand. Unlike the majority of his generation, who see roles in different houses as ways to bolden their voice, he chooses to follow the beat and path. Romantic ruffles, raw edges, dark undertones—Gallici leans into the house’s established language rather than rewriting it.
This season, his vision felt more assured: flowing sheer shirts billowed under sharply tailored coats, distressed knits clung to the body, and leather pieces carried a worn-in sensuality. If past collections sometimes felt like reenactments, this one had an underlying conviction, a sense of ownership over the house’s aesthetic codes rather than deference to them. The balance between structure and fluidity was sharper, the interplay of textures richer.
Even in its stability, there was movement. Collars draped off shoulders with the kind of undone elegance that looks accidental but isn’t. The tension between precision and disarray was at its most distilled. It’s a commitment to quiet rebellion, not reinvention. And while some may long for a bolder departure, Gallici’s restraint proves that sometimes, refinement speaks louder than disruption. In embracing subtle evolution over radical change, he ensures that Ann Demeulemeester’s legacy endures—brooding, romantic, unmistakable.
Words by Pedro Vasconcelos
COMME DES GARÇONS FW25
Rei Kawakubo has never treated fashion as a passive art form. Her work is an argument, a confrontation. Last menswear season, she addressed the horrors of war and the helplessness of those forced to fight. For Fall/Winter 2025, she once again turns her gaze to the state of the world—not in response to a single event, but to a broader reality, one where corporations have infiltrated the political landscape, twisting the news into Orwellian roll calls. The collection swelled with distortion, garments mutating beyond their intended forms, swallowing themselves whole. Dresses bulged with grotesque protrusions, silhouettes sprouted extra limbs, and layers of fabric stacked with geological sensibilities. Excess has broken loose and run amok.
A velvet dress wasn’t simply a dress—it was a tower of flattened frocks stacked one on top of the other, an archive of past lives draped onto a single frame. Then there were the cartoonishly exaggerated bullet breasts, inflating Kawakubo’s deconstruction of femininity into something both absurd and unsettling as if womanhood itself had been distorted by too many hands, too many expectations, too much interference.
Each look seemed to pose a question: What happens when excess runs unchecked? When does accumulation stop being power and start becoming weight? The collection reads like an autopsy of overconsumption, of unchecked growth, of the way grandeur, when pushed too far, collapses under its own pressure. It was the anatomy of excess in its final, desperate gasps—mesmerizing, unsettling, impossible to ignore.
Words by Pedro Vasconcelos
BALENCIAGA FW25
The Balenciaga Fall/Winter 2025 show began with a romantic and nostalgic musical backdrop. As the soundtrack evolved, the collection showcased a more dynamic and multifaceted style, with the dark setting adding to its mysterious allure. Staged at the Cour du Dôme des Invalides in Paris, the show blended different creative references. Far from cohesive, the collection seemed almost tailored to a very wide clientele.
In an unexpected twist, Balenciaga went back to the basics of construction and design, opening the show with a series of men in tailored suits and carrying briefcases. The futuristic, bold, and deconstructed designs of Demna were exchanged for tailoring and corporate attire, offering lessons in technical construction. Trench and fur coats added a timeless touch, while leather bombers brought strength to the collection.
Minimalist looks were seen throughout, such as the monochromatic beige look with a long-structured coat and matching scarf or the hooded wool coats with simple cuts. The asymmetric dresses, some in lace, were sensual and feminine, creating a rare and never-before-seen aesthetic for the brand. Other looks embodied effortless elegance, featuring wide-legged jeans and sweaters, as well as ensembles in distressed denim.
The designer also played with the proportions of the garments—some tailored to perfection, while others were oversized and baggy, such as the tunic-like, floor-length hoodie in electric blue. Some silhouettes embraced the gym bro aesthetic, with shredded tank tops and joggers worn by tattooed, muscled models. Visor-style sunglasses provided an edgy, futuristic touch, evocative of Demna’s signature aesthetic.
Words by Carolina Benjumea
THE ROW RESORT 26
Ashley and Mary-Kate Olsen like to do things their own way. Whether it’s asking the guests of their The Row shows to not record (in order to fully take in the experience), to serving them the chicest snacks imaginable – this time, it was sandwiches presented in brown paper, decorated with gherkins on top of the wrapping.
For Resort 2026 (showcased during the Fall/Winter 2025 Paris Fashion Week), the design duo created an atmosphere of charming informality. Though the presentation was hosted in a classically opulent Parisian space, the seating was not assigned – guests could sit wherever they pleased, with many choosing the floor.
This feeling was further evoked by the collection. The looks were presented with no shoes, replacing them with pairs of thick wool tights in black, off-white or beige (often completely matching the colour of the clothes worn on top). The coats were buttonless and their sizeable collars were poetically draped on the models. Shawls worn on top of shift dresses doubled as mittens. The stand out silhouette featured a sleeveless wool dress and a coat tied around the waist with a statement leather belt (or was it an apron?), accessorised with a black headscarf.
Words by Martin Onufrowicz
LACOSTE FW25
The Lacoste Fall/Winter ’25 show was a celebration of the brand's very essence. Presented on a circular stage at Roland Garros, the collection, conceived by Pelagia Kolotouros, merged sportswear with tailoring, comfort with precision. Titled An Invitation, it showcased the brand’s ability to imprint elegance onto sporty clothing. More than just an athletic silhouette, the collection was casual while embracing the codes of understated luxury. It exuded Sunday brunch vibes and the ambiance of a café on a terrasse in the 16th arrondissement.
Oversized tailoring, loose-fitting trousers, and skirts that moved freely down the runway, evoking comfort and effortless style, were seen throughout. This created a fresh and youthful take on leisurewear, where the ease and comfort of the silhouettes were elevated by the quality of the textures. The quintessential tennis garment, the polo shirt, was present and reinterpreted in various colours and materials. Whites and deep browns dominated the runway, creating a luxurious feel, while black and forest green added a rich visual depth.
The different shapes of the garments created a visually striking collection. Ample silhouettes hid the natural curves of the body, creating a shape that was straight yet flattering. Puffed garments, including coats, were central to the collection, creating a bold silhouette and disrupting the classic and timeless style of the brand. Tailored suits in magenta pink were unexpected but added a refined and elegant touch to the collection, far from the typical sportswear aesthetic. Pieces adorned with metallic beads and sweaters in sparkling materials stood out, offering a modern and bold approach.
Words by Carolina Benjumea
LUDOVIC DE SAINT SERNIN FW25
Ludovic de Saint Sernin means business – quite literally. Following his über-sexy guest Haute Couture collection for Jean Paul Gaultier, the French designer is back with a more demure proposition for Fall/Winter 2025. But fear not, the kink is still there!
The collection opened with a total black look, featuring an oversized menswear-inspired wool coat and a fitted suit. Sounds like office-appropriate attire? That’s the point – in interviews backstage, de Saint Sernin said that he wanted to create a wardrobe for his fantasy workplace. And since it’s a fantasy we’re talking about (and an LdSS one at that), the look was made more naughty by being paired with a leather bustier with the brand’s signature corset detail.
Throughout the show, models strutted down the runway in the designer’s variations on classic tailoring – from pinstriped dresses to camel wool coats. The sexy aspect was still intrinsic to the proposition. A black double-breasted coat was worn with a pair of leather trousers and hot red gloves. Fur coats were cinched by oversized belts that seemed to be an homage to Azzedine Alaïa’s masterful sensuality. A strapless leather top in dark green was paired with bootcut wool trousers.
As for something for after hours? A black latex bikini worn under an oversized trench will do just the trick.
Words by Martin Onufrowicz
GIVENCHY FW25
It’s a bright morning in Paris. Sunlight streams through Givenchy’s Avenue George V headquarters, and while that might be exciting enough for a Londoner, the glee in the room has little to do with the weather. The crowd has gathered to witness Sarah Burton’s debut at the maison. As one of the most adored designers in the industry—responsible for carrying forward Lee McQueen’s legacy for the past decade—she has, in a way, followed in his footsteps. Of course, this is a different Givenchy than the one McQueen stepped into over twenty years ago. In the past decade, the house’s image has been muddled by the egos and personal styles of successive creative directors. Cue Sarah Burton, expected to turn the tide.
Following the theme of "work in progress," Burton found a way to ease expectations—a welcome reminder that patience is a virtue in this industry. Not that much was needed; the collection was a strong start. Tailoring, Burton’s sharpest tool, was on full display. It wasn’t just in the structured coats and rounded, voluminous shoulders. Jackets were chic from the front, with an elegant collar that sat above the model’s collarbones, only to reveal— as they walked by— that they were reversed. Draping on long dresses and bodysuits gathered beautifully at the neck, creating soft volume.
Online, people are celebrating the joy of women designing for women. And while Burton’s appointment speaks to the fact that women hold just 12% of creative director roles in the industry, the praise is also a testament to her construction. Sculpted silhouettes were crafted with comfort in mind, never compromising the wearer.
Backstage, Burton spoke of the similarities between her debut and the maison’s first collection. And while parallels with Hubert de Givenchy’s work were everywhere—leather Bettina shirts and sculptural dresses were hard to miss—it was the embodiment of his humour that felt most refreshing, with the makeup dress and jeweled top nodding to Mr. Givenchy’s campy printed gowns.
Words by Pedro Vasconcelos
KENZO FW25
The Kenzo Fall/Winter 2025 show was a fusion of diverse cultural influences, showcasing the brand’s multicultural approach and free-spirited mindset, imprinted by founder Kenzo Takada since its beginnings. Lucky Me? Lucky You was the name of the show, inspired by a sketch made by Kenzo featuring two stuffed rabbits. The playful and youthful inspiration is reminiscent of the brand’s heritage, where urban, humorous, and pop references are used to create sophisticated and tailored pieces.
The show featured eclectic styling, blending casual, street, and fluid elements. Booty shorts were styled with cardigans and crop tops. Silk gloves were paired with flats and socks. Slip tops were knotted around the waist over trousers, creating a chaotic yet innovative style. Oversized draped looks gave a sense of ease and comfort, contributing to an unpolished aesthetic—offering a not-so-serious, young, and fresh take on fashion.
Transparencies on women were part of the feminine and modern looks, while oversized suiting reflected the brand’s Japanese tailoring heritage. Far from being just playful, the collection showcased the label’s precise construction techniques, creating wearable pieces alongside creative styling. Girly accents such as delicate lingerie, tiny floral details on blazers and shirts, and delicate ribbon bows unified the collection. Baby shades of pink, green, and blue blended with the structure of black and white kimono jackets with satin borders.
The rabbits, the common thread of the collection, appeared as graphics on caps, vests, and jackets. Literal rabbit-shaped tops, jackets, and shearling-inspired slippers walked down the runway, reinforcing the playful aesthetic. Embracing the season’s trend, a big, dramatic coat was featured in the collection—this time in hot pink, echoing the stuffed animal inspiration. The overall collection not only highlighted the brand’s fun and playful side but also its bold approach to self-expression and its clean, precise tailoring.
Words by Carolina Benjumea
HODAKOVA FW25
Hodakova is the name on everyone’s lips. Since receiving the prestigious LVMH prize last year, Ellen Hodakova Larsson went from the cool in-the-know designer to one of the key up-and-coming players in the fashion industry. With her collection for Fall/Winter 2025, the Swedish designer reminded us just how unique her vision of sustainable fashion can be.
Over the past couple of years, Hodakova has surprised us time and time again with her ingenious use of deadstock materials. This superpower was in full force with her latest offering. Black leather belts adorned skirts and dresses, bouncing around with the models’ struts. A heap of fur hats has been turned into statement coats. Corduroy trousers have been reworked into a peacoat (with belts used as sleeve trims), while wool pants were used to create floor-length gowns.
The most playful element of the offering came from the designer’s look into musical instruments. A violin became a hat – paired with a simple black dress. A drum was used as an ultra-mini skirt – again, worn with a simple white shirt. However, with the final look, Hodakova went all out – a cello was put on a model, creating certainly the most avant-garde dress proposition of the season.
Words by Martin Onufrowicz
RABANNE FW25
Julien Dossena knows how to keep us excited about fashion. Season after season, the French designer brings his fresh touch at Rabanne to everyday pieces – and a fair share of nighttime-appropriate attire – through deconstruction and material experimentation.
Statement outerwear is a Dossena staple – for Fall/Winter 2025, the designer’s collection for the house opened with a tailored coat with a double-lapel detail, fur-trimmed sleeves and fur tails bouncing around with each step. The fur also appeared on the lapels of black leather cinched coats, dresses, and oversized fur coats with similar fur tails trimming that we saw in the first look.
It wouldn’t be a Rabanne collection without some sparkle. A khaki wool suit shined bright with its sequined lapels (and a matching turtleneck, blending in), while see-through plastic trenches in translucent blue and orange hues revealed the brand’s signature chainmail dresses underneath. The glistening touch was also added by silver key pendants peeking through metal holes in a dress with fur trimming or a black halter neck dress with a dramatic sequined opening on the bottom — both worn with chunky military-inspired boots.
Words by Martin Onufrowicz
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