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

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SAINT LAURENT FW25

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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

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

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LACOSTE FW25

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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

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LUDOVIC DE SAINT SERNIN FW25

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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

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KENZO FW25

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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

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

TOM FORD FW25

"To have everything look so natural yet be so well thought out at the same time is an eccentricity we might’ve lost." I teased myself with Haider Ackermann’s interview on the Fashion Neurosis podcast just before his debut show at Tom Ford. What I learned (besides never wearing buttons around the designer) was to expect anything but slapstick interpretations of the archive. Instead, Ackermann both promised and delivered a middle ground between his syntax and Tom Ford’s vocabulary.

Among steamed-up glass walls, the collection gave us the expected sex, even if achieved in unexpected ways. That being said, it started where we expected it to: full leather looks in the form of slim structured coats, moto jackets, and even T-shirts. As the show progressed, Ford’s classic tight suits emerged, paired with a singular leather glove. Eventually, Ackermann’s distinctive colour palette came out of the (pale) blue—colourful pastel suits clashed against deeply hued shirts, eventually evolving into temptingly revealing dresses.

Now, admittedly, at first glance, the collection wasn’t what I expected. I wanted raw sex, but this was, as Ackermann so cleverly put it, "the morning after." Yet, the appeal of post-climax sensuality is undeniable. An open white shirt is collared by a monochromatic tie, subtly undermining corporate rigidity. Draped high-neck dresses conceal the front but reveal full backs as they pass, playing with the tension between exposure and restraint. It’s in this dichotomy that we see the future of Tom Ford, led by a designer that doesn’t want to trace his predecessor’s shoes but to forge a path forward.

Words by Pedro Vasconcelos

COURRÈGES FW25

Joyous is not necessarily the first adjective you’d give to a brand like Courrèges. Cunty? Definitely. Interesting? For sure. This season, that changed. In the sea of suspended confetti that models walked through, the joy was undeniable. Unlike Nicolas di Felice’s previous gags—the designer loves a runway that cracks, breathes, or transforms—this time, the set directly inspired the collection.

Fascinated by the ease with which confetti floats around, the designer translated the concept into clothing that somehow stayed on. The fascination isn’t new. For seasons, we’ve seen mysteriously suspended rectangles on models’ bodies, but this felt revamped. Still inspired by simple geometry— the omnipresent link Di Felice maintains with Courrèges' original DNA— the designer wrapped scarf-like rectangles around bodies. These, seemingly held by the same magic that kept the surrounding confetti flowing, moved ever so gently as the models walked.

Of course, there’s no magic to what he does—only skill. In this case, transparent underpinnings keep the floating shapes tight on the body. And, while the panel remains as neutral as we’re used to, an unusual amount of pops of pink and red conveyed a change. Floating plumes and beaded metallic dresses argue for the same conclusion: with growing confidence, Di Felice redefines the future of Courrèges.

Words by Pedro Vasconcelos

DRIES VAN NOTEN FW25

For fashion lovers, the last six months have been rough. A constant game of musical chairs has been rocking the industry non-stop. Our favorite designers get replaced, retire, or simply stop showing. When news broke that Dries Van Noten was to retire, there was an overwhelming sense of fear. What were we to do in an industry without the boldly coloured and heavily printed glamour we’ve gotten used to? Fall/Winter 2025, the debut of his successor, Julian Klausner, proves we don’t have anything to worry about.

For over six years, Klausner has been working in-house for the brand, learning how to achieve greatness from the greatest. While in other brands, changes in creative leadership usually mean artistic deviations, that is not the case here. His debut was a reassurance that we’ll be alright. The show, which started in quite a demure way, with an emphasis on tailoring with laced details (as seen on the thick lapels of heavy coats), quickly dived right back into what we know Dries Van Noten to be—a perfectly harmonized mix of print, texture, and colour.

Clashing printed palettes came in long dresses and miniskirts layered on top of colourful knits and flowy pants. Heavy patterned coats oozed with even heavier embellishments. Waves of pastel tassels flooded full dresses. Klausner’s debut was everything we needed. In uncertain times, it’s good to know Dries Van Noten will remain as it’s always been: solid ground.

Words by Pedro Vasconcelos

ACNE STUDIOS FW25

The Fall/Winter ‘25 womenswear collection of Acne Studios blended sensuality with Nordic clean lines and functional design. The setting of the show was inspired by Swedish landscapes and given a futuristic turn. Woven sculptures by design duo Front were present on the stage, creating a juxtaposition between the modernity of the landscape and craftsmanship. The show was an amalgam of styles and structures that created a rich visual story, something the brand is known for. From bodysuits to oversized coats, loose dresses, and structured vests, the collection showcased not only the creativity of the label but also its diverse and unique world.

Acne Studios knows how to bring unexpected twists to its clothing through accessories. Flowy silk dresses that embodied elegance moved gracefully on the runway and were combined with big, chunky shoes, breaking the feminine allure and transforming it into edginess. Bold, knitted bodysuits created a cozy charm. Booty shorts, see-through fabrics, asymmetric cutouts in bodycon dresses, and plunging necklines brought an element of sexiness and femininity, which was disrupted by exaggerated and voluminous silhouettes.

Some looks featured XXL knitted bows, while others displayed delicate pussy-bow shirts, creating a contradictory yet complementary aesthetic. Fur coats were big and dramatic, and oversized vests emphasized the shoulders, featuring a powerful look. Fuzzy and textured garments added a playful, infantile touch while maintaining an effortless style, and the leatherwork in dresses and coats reflected the brand’s technical precision.

Corporate-core was an essential part of the show. Sharp tailoring and sleek briefcases showcased the brand’s ability to create classic looks with a modern twist. Their signature denim appeared in dresses, jackets, and jeans, adding a laid-back touch to the collection. The colour palette featured earthy hues with lively tones, as well as blacks and greys, making for a visually exciting show.

Words by Carolina Benjumea

PRADA FW25

God knows there’s nothing like a Prada show. The excitement of finally discovering what Miuccia Prada and Raf Simons have been conjuring up feels like Christmas (yes, we’re being hyperbolic—no, we’re not changing it). For Fall/Winter 2025, nothing’s changed. As “frumpy” outfits make their way down the runway, it feels as if we’re being handed a tightly wrapped gift, waiting to be painfully—yet happily—unwrapped.

The beauty of Prada lies in its cerebral spine. While most brands have caught on to the fact that referencing oneself is a successful formula, Miuccia Prada takes it to another level. Prada doesn’t just allude to aesthetic elements; it revisits its intellectual guidelines. It’s not just that Fall/Winter 2009’s silhouettes were referenced—it’s that their core idea was pushed further. If the now 16-year-old collection explored austerity as female empowerment, this season asks how austerity has evolved into a marker of femininity. In an age where glamour is so easily bought, what does perfection truly signify?

In this case, slouchy knits are barely cinched by a tiny bow, paper-bag waists appear in distressed leather skirts, and sumptuous fur coats are wrapped in plastic covers. Baggy silhouettes are adorned with the daintiest details—like the closing look, a large coat with perfect pearl buttons that somehow feels quintessentially Prada.

In recent years, the set used for the menswear collections has been repurposed for the womenswear shows. The choice isn’t just about sustainability (Miuccia Prada, you ecological queen, you) but about reinforcing a sense of continuity. And while the idea of a co-ed collection might be feasible—just two days prior, Gucci presented one—we’re not complaining about the separation: the more Prada, the better. What is undeniable, however, is that by analyzing the men’s show, we get a preview of the intellectual throughline. If this season’s menswear juxtaposed the untamed with the civilized, the womenswear honed in on glamour and indifference. Exposed seams, wrinkled garments, and raw edges suggest imperfection—not as a flaw, but as an acknowledgment that perfection simply isn’t desirable.

Words by Pedro Vasconcelos

DIESEL FW25

“Coco Chanel goes to Balmoral and gets trashed on sherry with the Queen.” Those were the words Glenn Martens used to describe Diesel’s Fall/Winter 2025 collection. To say the description is wild is true, but to say it isn’t accurate is to have not seen the collection. The show began before the first look even walked down the runway—the set was as much a spectacle as the looks themselves. Six miles’ worth of fabric bolts, hand-painted, sprayed, and written on by street art groups, made up the backdrop. Beyond being logistically impressive, the concept was undeniably effective: it set the mood—artistic chaos.

The first looks started out peaceful enough. Structured tweed tops, paired with either denim booty shorts or baggy jeans, delivered the Coco Chanel fantasy Martens had promised. But things quickly took a sharp turn before diving headfirst into pure, wild experimentation. Before we even get to the rubber tops designed to mimic knitted human skin, let’s start with houndstooth distortion. Frayed denim was manipulated to create the pattern on cropped jackets with matching panties. Then, just as a few nylon navy puffer jackets and zip-ups lulled us into a false sense of familiarity, Martens threw a curveball. The aforementioned rubber tops appeared alongside distorted, melting leather jackets. Dévoré maxi skirts were paired with tops that crumpled shirts into two-dimensional forms on the models’ bodies.

The collection felt almost reassuring for an audience of people watching close by as Martens is set to make his Maison Margiela debut—he’s a force to be reckoned with, it felt good to be reminded.

Words by Pedro Vasconcelos

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