showreport
Martin Onufrowicz
CELINE SS25
showreport
Martin Onufrowicz
LOUIS VUITTON SS25
showreport
Martin Onufrowicz
LACOSTE SS25
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Martin Onufrowicz
MIU MIU SS25
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Martin Onufrowicz
VALENTINO SS25

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N°21 FW25

Alessandro Dell’Acqua’s vision of clothing has always been poetic yet wearable. For his Fall-Winter ’25 collection, he infused a deep sense of storytelling through a cinematic lens. Inspired by the visual universe and feminine codes of Sofia Coppola, the collection presented a mix of structured pieces with delicate details, creating an intriguing duality.

The offering started with minimalist looks, with black as the central shade. Transparencies added a sensual touch, while oversized coats introduced a masculine energy. Mini bows brought innocence to an off-the-shoulder black dress, while animal print statement pieces disrupted the neutrality, creating a lavish atmosphere.

The show unfolded in a diverse colour palette, featuring combinations of greys and reds. Camel tones added a classic touch, while electric hues stood out from the rest. Deconstructed XXL bows adorned tops and dresses, disrupting the clean lines of the overall collection.

The show concluded with a more innocent, feminine, and playful aesthetic, with pastels as the central tones. Pinks, baby blues, and yellows were paired with delicate floral motifs, offering a timeless take on womenswear. Structured garments added sophistication, while the combination of oversized pieces, such as chunky coats, introduced an interesting and modern twist to an otherwise classic collection.

The overall proposition was a display of contrasts—elements that have always been part of the brand’s DNA. Short, sculptural dresses and leather skirts catered to the femme fatale, creating looks that were sexy yet subtle, while lingerie-style pieces evoked a sense of delicate sensuality. Outfits featuring oversized knitwear, flowy skirts, and buttoned-up shirts embraced a corporate-core aesthetic. Corduroy, wool, and organza all contributed to the collection’s visual richness.

Words by Carolina Benjumea

GUCCI FW25

In the wake of Sabato De Sarno’s recent departure, Gucci’s Fall/Winter 2025 collection answers an apparently simple yet disarmingly complex question: What does Gucci look like? 

After so many creative evolutions, what is the legacy that remains as we all (not so) patiently wait for the next one? It’s not easy to find the common thread between Tom Ford’s sex and Alessandro Michele’s extravagance, or Guccio Gucci’s original flair and De Sarno’s bejeweled minimalism. Yet, the in-house design studio responsible for the collection successfully did it. 

The runway, a striking interlocking 'G' motif, set the stage for a blend of eras. Models adorned in boxy mini-dresses, reminiscent of the mod sixties, paraded alongside ensembles featuring luxurious faux fur coats and satin slip dresses that echoed the dirty sensuality of the nineties. Of course, it wasn’t just a revisiting of the archives—there was depth to what was presented. A clear sign of this was the reimagination of the iconic horse-bit hardware, appearing as drop-chain neckties and enclosures on leather bags.

The amalgamation of men’s and women’s silhouettes wasn’t just a practical tactic but an interesting creative opportunity. The Gucci wardrobe was displayed without interruption. Even if the menswear was admittedly slicker and the womenswear quirkier (fur coats combined with lavender lingerie were undeniably camp), the collection read as a whole.

As the house stands at a crossroads and anticipation surrounding the appointment of a new creative director grows, Fall/Winter 2025 was reassuring. No matter what, Gucci will always be Gucci.

Words by Pedro Vasconcelos

SAINT LAURENT FW25

For a certain type of person, there’s nothing as euphoric as a Saint Laurent show—the same person who has the Juergen Teller portrait of Yves Saint Laurent saved on their phone. For this kind of person (this writer), an Anthony Vaccarello show is the most anticipated of the season, every season. That is because Anthony Vaccarello doesn’t design selfishly, instead, he understands himself in a wider legacy. In his collections, creative intuition is thought through the lens of a pair of acetate glasses. Fall/Winter 2025 is no different.

First, the obvious: the boots. A pair of black leather thigh-high wader boots encapsulated the majority of the collection’s concept. For the first few looks, these were paired with sharp tailoring, the accessory adding an edge to an otherwise classic range. The footwear—beyond being the most interesting styling option of the season by far—was a welcomed reference. Robert Mapplethorpe is often used for inspiration, but Vaccarello doesn’t simplify his legacy to make it instantly recognizable – he considers it calmly. The boots are not only an allusion to the photographer’s S&M explorations, but to the artist himself. Mapplethorpe was often seen and pictured in full leather gear. Referencing a creator alongside their creations isn’t new to Vaccarello.  Fall/Winter 2024 saw the iconography of Yves Saint Laurent’s personal style analysed. The latest collection carries over, not only an extension of this approach, but also some of its most successful moments. Suits and long coats remain razor-sharp even when contrasted by the shiny boots—perhaps looking even more cutting. By bridging these two references, Vaccarello hosts a conversation between two of the most culturally impactful queer men of the 20th century.

But even though the Savile Row-meets-The Eagle energy was omnipresent, Vaccarello went deeper than mere dialogue. As we’ve seen peppered throughout the season he’s unofficially closing, there’s been an instinct to reference the current shift in the cultural and political currents. Vaccarello doesn’t ponder what he doesn’t understand; instead, he hones in on what he does—and how that is affected when stormy weather approaches. After all, despite the state of the world, we still all put on (in this case, leather) pants one leg at a time. How is clothing used to feign the everyday when the everyday is something we no longer recognise? Here again, the instinct isn’t to create a parable but to look for guidance in the founder of the maison he leads. What fashion was Saint Laurent making when he was at his lowest? By researching the collections, Vaccarello positions plumes as an answer. In the last quadrant of the collection – when the tailoring mellows and oversized leather bombers nod to an ’80s source – plumes begin to appear. First, as a shroud atop a long coat, then flickering at the collar of others, until eventually they take over, enveloping pieces in a voluminous grandeur that serves as the closing piece to the show. As the last look walks by, and the euphoria finally begins to settle, it becomes clear: Vaccarello isn’t just preserving Saint Laurent’s narrative, he’s making it necessary all over again.

Words by Pedro Vasconcelos

JACQUEMUS SS25

Set inside the Parisian art deco apartment designed by Auguste Perret, Simon Porte Jacquemus presented one of the most grown-up collections for his eponymous label to date. Presented by a line-up of supermodels (Christy Turlington! Doutzen Kroes! Eva Herzigova!) in a haute couture salon-like matter, the Spring 2025 offering was rich in old-world elegance.

The show opened with a string of looks featuring cocoon-like coats and voluminous skirts. The feeling of sophistication was further mastered in the ensemble worn by Alex Consani – an oversized feather coat, which evoked the glamour of Truman Capote’s “Swans”. Looks were accessorised with ladylike bags and shoes – long leather clutches and kitten heels. But because this is a Jacquemus show that we’re talking about, the signature sexy touch was not lost. Floor-length gowns in black and red, though appearing demure from the front, featured slits on the side cut low enough to give a peek of the underwear. Leather corset belts cinched both womenswear and menswear looks, and the shortest of shorts were paired with blazers, jackets and coats.

As the models walked the final time to Mon Dieu by Edith Piaf, Jacquemus’ intention for the season was clear – this spring, we’re channelling the ladies (and gentlemen) who lunch, and have a lot of joy doing so!

Words by Martin Onufrowicz

DIOR HOMME FW25

A gigantic white staircase lights up as the Dior Homme Fall/Winter 2025 show is about to begin. Down it descends a model wearing a black blindfold, a simple sweater, and voluminous balloon pants resembling a ball skirt. And while the initial shock of a blindfolded model walking down steep stairs subsides, the dramatic silhouette leaves a lasting impression. Little did we know, that was merely the opening look of one of the season's most remarkable collections. Kim Jones, now eight years into his tenure, presented one of the most impressive offerings of his career.

Devoid of colour or pattern for the most part, the collection primarily featured black, grey and muted pink. His historically consistent focus on streetwear was transformed—adapted into a matter of silhouette rather than logos. Simple leather cropped jackets were impeccably cut.

The collection’s success lay not only in its aesthetic impact but also in its depth, which reached back to the house’s earliest codes. It drew inspiration from Monsieur Dior’s H-line collection of Fall/Winter 1954. Now, 71 years later, Jones reinvents those codes, abstracting them into modern tailoring. The show serves as a seamless extension of his most recent experiments. Jones has long flirted with the idea of what a menswear couture line might look like, and his latest collection feels like a definitive conclusion. Mostly forgoing haute couture’s classic extravagance—visible only in subtle crystal embroideries (the final look being the exception)—Jones distills the art of couture into tailoring, using it to craft shapes that exist simultaneously in the past and the future.

Words by Pedro Vasconcelos

LGN LOUIS GABRIEL NOUCHI FW25

“LGN.” “LGN.” “LGN.” A repetitive hymn blasts from the speakers at the—you guessed it—LGN Louis Gabriel Nouchi show. The track, part anthem, part gay bar background music, is lovely but not necessary. There’s no way we could mistake the collection before us. After eight years at the helm of his namesake label, Nouchi has established a visual identity like no other: classic masculine silhouettes contrasted by skin-tight sheerness. Fall/Winter 2025 was no exception.

Another of his signatures—a classic book as the thematic anchor for the collection—was, of course, present. 1984 felt like a pointed choice. In a political climate that worsens with every billionaire's speech, George Orwell’s dystopian classic resonates deeply, particularly for a brand that is not only outwardly queer but also so progressive, even within the fashion world. A diverse cast—spanning age, body type, height, and gender—reminded us of the commitments many made a few years ago but seem to have since abandoned. The sombre tone was mirrored in cocooning silhouettes, perhaps evoking the childish instinct to hide under the covers.

The straight shoulders—the only straight thing in the show—were, of course, ever-present. This time, however, they appeared in a spectrum of materials, the standout being a short fur that was to die for. Nouchi has redefined masculinity, one that, while borrowing from the aesthetics of its conservative iteration, completely subverts it.

Words by Pedro Vasconcelos

DRIES VAN NOTEN FW25

There are not enough words to express the depth of the gasp I exhaled when I saw the Dries Van Noten Fall/Winter 2025 collection. After last season’s unforgettable show—the official farewell of its founder—there was a sense of doom and gloom surrounding the collection. But, alas, a few weeks ago, Julian Klausner was announced as the new creative lead. And while the collection was designed solely by the Dries Van Noten studio and merely directed by Klausner, the novelty of a new designer erased any trace of somberness.

At its essence, Dries Van Noten is a joyful company. Of course, the joy wasn’t necessarily spelled out. The collection, romantic with a gloomy undertone, had its moments of glee—flowers punctuated the entire lineup.

Inspired by William Burroughs’ The Wild Boys, the visual language was rooted in a very specific time and place—in this case, Antwerp in the 19th century. Structured trench coats in wool and fur were as opulent as they were romantic. But if it’s romance one desires, a dramatic satin cape satisfies all cravings. The brand’s idiosyncratic prints also received a dark makeover.

It feels poetic for menswear to be the first collection the brand presents after Klausner’s announcement, as it was also Van Noten’s farewell. Menswear, as the narrative core of the brand, bookends its history.

Words by Pedro Vasconcelos

JORDANLUCA FW25

The Jordanluca Fall-Winter '25 show was a celebration of love. Against a romantic pink and white backdrop adorned with flowers, models and guests posed in what initially seemed like a fashion gathering. A romantic, dream-like vibe filled the show, with the background music setting the mood and Mendelssohn’s Wedding March preparing the audience for what was to come: the wedding of Jordan Bowen and Luca Marchetto.

Over the years, Jordanluca has become a bold staple on the Milan Fashion Week scene. Their brand is a daring mix of Italian timeless design and London’s counter-culture energy. Through urban and streetwear silhouettes, they have positioned themselves at the centre of modern masculinity while maintaining craftsmanship in their DNA. This collection stayed true to their individuality and edgy approach to design.

The show was a mix of styles that came together to create an eclectic collection. From preppy looks characterised by blazers, sweaters, tailored coats, and buttoned shirts, to elements reminiscent of the Punk movement, such as chunky platform shoes, oversized leather jackets, and studded leather belts, as well as feminine pieces like pencil skirts, each look showcased elegance with a modern twist.

The juxtaposition of classic and unconventional was further complemented by the dichotomy between feminine and masculine. Mini dresses and skirts appeared alongside cargo pants and deconstructed pieces, creating a free-spirited and creative feeling throughout. Some models walked down the runway holding red roses, adding an enigmatic yet sexy allure.

After the models' final walk, an officiant appeared to celebrate the wedding of the designers. The touching speech retracing the history of their relationship, the intimate and charming setting, the vows, the final kiss, and the six-tier wedding cake all stood as proof of the enduring bonds forged through the creative vision of their brand.

Words by Carolina Benjumea

LOUIS VUITTON SS25

On a stage made out of hundreds of trunks, Nicolas Ghesquière presented a Spring/Summer 2025 collection for Louis Vuitton equally opulent when it comes to ideas. 

The season’s starting point came from one of Ghesquière’s favourite history periods, the Renaissance. The show opened with a round of looks which played with the shapes of jackets from the era – the sleeves were billowy and the peplums flowed as the models walked down the runway. And since this is a Nicolas Ghesquière collection, these garments of historical proportions were given a modern edge through their lightness and pairing with striped bicycle shorts.

Excellent outerwear propositions continued throughout the offering, including the standout off-white cape with an architectural collar (worn with dramatic feathery shoes) and a black chiffon jacket with sharp ‘80s shoulders, embellished with oversized stones.

The fluid nature of the collection was emphasised by the strings of necklaces dangling all the way to the navel. The jewellery accents were further used throughout the accessories range, from monogrammed bags decorated with a rainbow of stones to bucket hats embellished with pendants swinging to the beat of the soundtrack.

Words by Martin Onufrowicz

MUGLER SS25

Casey Cadwallader returns this season to unveil Mugler's Spring/Summer 2025 collection, offering a sharp, symmetrical vision through the lens of a botanical aficionado. Florals for spring? Absolutely. But this is Mugler, where we can expect nothing less than expertly executed, structurally reimagined designs with a touch of sci-fi.

In celebration of the house's 50th anniversary, Cadwallader has meticulously dissected the garden, sowing the seeds for a collection that honours five decades of creativity. Ladybugs and beetles take centre stage, crawling their way into the intricate construction of corsets, blazers, and dresses. The necklines are sharp and deep—a reminder that to cultivate a vibrant garden, one must first dig into the Earth. Mugler’s signature fierce hip and shoulder pads are ever-present, and as strong as ever. The standout pieces? Short dresses adorned with dissected floral appliqués, where the cross-sections and movement of flowers serve as the designer’s muse. Though the overall tone of the show is dark and determined, bursts of colour and vivid fabric details bring brightness to each look.

A foggy black dress emerges midway, enveloping the model like a cloud of mist as if fumigating the blooms. A transparent raincoat adorned with crystal orbs follows, suggesting that rain or shine, these flowers demand admiration. Geometric grids printed on dresses and blazers, paired with matching shoes, emphasize the bold, reimagined Mugler silhouettes. The collection masterfully highlights anatomy—the delicate structures of flowers, insects, and models alike.

Cadwallader’s dialogue with the archive is apparent throughout, yet audacious elements like pearl accents, spotted prints, and coordinating green army and denim sets breathe fresh life into the designs. The collection offers a cultivated bouquet of florals, both thorny and fragrant—a refined yet daring arrangement that is unmistakably Mugler.

Words by Gabrielle Valda Colas

ACNE STUDIOS SS25

Home is where the heart is, but domestic life isn’t always rosy. Acne Studios’ Jonny Johansson takes domestic codes and flips them on their head for the brand’s Spring/Summer 2025 collection. In his collaboration with Philadelphia-based artist Jonathan Lyndon Chase, who created the custom homeware and decor at l’Observatoire de Paris, the designer shows that home is at the centre of the inspiration for this offering. 

As the models start to file down the runway, we hear a vibrant soundtrack produced by Mun Sing and we’re ready to take it all in. Knitwear-clad models have slightly dishevelled slick hair, as if they got caught in the stormy Parisian weather. While cardigans are still around this season, this time they’re layered, tied around the shoulders and waist, or worn as bottoms.

Office wear is reimagined in voluminous shapes – through leather suits or green and grey crocodile inflated blazers – whilst moussy skinny trousered suits close the show. Everyday domestic accents are sprinkled into each look with boots in floral print, waxed floral garden gloves, and tartan blazers imitating upholstery. Denim is still around, this time in sets and capacious inflated jeans that almost give a cartoony surrealist feel to the collection. 


The eye is definitely in the detail as Johansson plays with the idea of draped and layered curtains in the dresses, and moth-eaten felt cardigans, sweater vests and dresses add to the home scenery of the show. The collection also feels like an ode to childhood at home where dresses and overalls are two sizes too big and tied at the shoulders, polka dots add an extra fun flair and blue and red crochet sets remind us of the doilies our grandmas kept on the wooden dining table. The re-imagination of household objects and domestic prints is à la fois subtle and incredibly loud, the wistfulness of the collection indicating that nostalgia can be worn and reimagined into clothing.

Words by Gabrielle Valda Colas

COURRÈGES SS25

Courrèges Spring/Summer 2025 collection proves there are always ways to make good out of a bad situation. In Paris, late spring, usually a harbinger of hope for warmer days, was instead a melancholic amalgamation of unpleasant rain and unpredictable cold. Inspired by the weather despair he felt when designing his latest offering, Nicolas di Felice presents a classic Courrèges collection, tailoring functionality for elegance's sake.

His inspiration is crystal clear from the beginning - the collection opens with four trench coats. Typical cold weather silhouettes are reinvented through lightweight fabrics and deconstructed touches. Satin, canvas, and raw denim are ever-present, most notably used in ‘70s-inspired looks. The brand’s identity in the decade is mentioned frequently, particularly in asymmetric button tabs. 

Di Felice thrives in his exploration of geometric shapes. This season, the fascination is manifested in incredible “magic square” tops -  a clear standout in the collection. Presented in both men's and women’s offerings, the deceptive garment makes it so a square of fabric appears to be floating on the body, devoid of any tattered attachments. The palette is, as always, strikingly neutral, albeit this season also includes slight pops of red and hiking-inspired abstract graphics. 

Words by Pedro Vasconcelos

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