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

JW ANDERSON SS25

In the fashion cycle, one thing is a welcome constant – Jonathan Anderson is always bursting with creativity. For his men’s SS25 and women’s resort collection, the Northern Irish designer has played around with the idea of “irrational clothing”. The show opened with silk liner jackets in pastels which thrived in their oversized nature. This was a telling sign of what’s to come. Throughout the presentation, Anderson showcased a display of über-desirable outerwear propositions – from hooded jackets sitting on the body as if blown up from inside and mullet bombers to leather jackets with extra-large pockets.

Anderson loves an optical illusion and continues to push the concept into brilliant results. The bags borrowed design details from loafers, while sweaters and knit dresses resembled classic English houses, giving a humorous take on the cottage-core craze. As for the array of jumpers emblazoned with the Guinness logo? Well, Anderson is a big fan of the Irish drink and if you share his taste in beverages, you can express it with one of his pieces come next spring.

Words by Martin Onufrowicz

PRADA SS25

For Prada Spring/Summer 2025, Miuccia Prada and Raf Simons gave us exactly what we wanted. In a light, youthful collection, the duo translated the formula that has made Prada’s sister brand so successful. Miu Miu’s offbeat youthfulness is immaculately conveyed through shrunken silhouettes, disturbingly vibrant colours, and an expected intellectual backing.

The show opened as most Prada shows do, with a fun twist. A little white house built on a platform lit up as the venue dimmed, pulsating both light and sound. Eventually, morning came, and models paraded down from the house onto the runway.

Immediately, crumpled and colourful knits set the tone. Shirts were folded and wrinkled in odd ways. Oversized leather coats had awkwardly short sleeves. Shrunken sweaters and a cropped nylon jacket revealed the models' waists. Trompe-l’œil was a constant, from polo collars on knitwear to light cotton trousers printed to resemble heavy wool.

The most striking part of the collection was undoubtedly the twisted collars, built through wires hidden in shirt seams. Prada’s Fall/Winter 2023 exaggerated collars were revisited in crumpled shapes. The uncanny playfulness trickled down to trousers, most with belts placed below the waistline, sewn into the trousers to sit centimetres away from their natural standing line.

These small details are little crumbs—oh, how we love to be fed by Mrs. Prada. Titled Closer the powerhouse design duo intentionally plays with perception. Clothes become metaphors for the need for connection. Proximity is discussed as a need, an imperative to understand human imperfection. Wrinkled clothes, ill-fitting coats, crumpled silhouettes—there’s a freedom in Prada’s planned spontaneity.

Words by Pedro Vasconcelos

EMPORIO ARMANI SS25

This season, Giorgio Armani took us on a rodeo. His Spring/Summer 2025 collection for Emporio Armani was peppered with references to horseback riding, from chunky suede boots with trousers tucked inside to leather harnesses and cowboy hats made of straw. The collection opened with an Armani summer staple – a parade of impeccably tailored and utterly light suits in the Italian designer’s favoured palette of grey and beige. And since Mr. Armani had horses on his mind, the signature looks were cinched at the bottom of the leg with zippers, exposing chocolate brown lace-up boots in all their glory. The offering then continued with incredibly desirable billowy silhouettes. Boiler suits with western pockets were paired with suede Mary-Janes. Double-layered vest with tassels was worn with roomy pleated trousers. Pistachio green suit jacket impressed with its extra-large lapels and elongated structure. The show closed with a section of looks in rich green and purple evoking the lavender fields of Provence, possibly revealing Mr. Armani’s upcoming holiday destination.

Words by Martin Onufrowicz

FENDI SS25

In fashion, celebration doesn’t require a reason. However, if it did, a centenary would certainly suffice. The house of Fendi is gearing up to celebrate its 100th anniversary in 2025, and Silvia Venturini Fendi has the honour (or rather, birthright) of introducing the first celebratory collection. For it, the designer delved deep into her family’s archives and emerged with a self-referential yet lighthearted proposition.

To honour the brand’s long-standing legacy, Venturini Fendi introduced a house crest featuring the Lagerfeld-designed double F logo, the ancestral Pequin stripe, an image of the Roman god Janus, and a squirrel. The latter directly references Edoardo Fendi, co-founder of the Maison, and his pet name for his wife, Venturini Fendi’s grandmother, Adele. Subtle nods to the history of Fendi were peppered throughout the 57 looks. Selleria stitching, one of the brand’s first house codes—adopted by its founders from Roman saddlery techniques—was omnipresent. Embossed in leather overcoats, embroidered in denim, and patched in the classic Baguette bag, the distinctive stitching was brought to the forefront.

The designer went beyond a mere celebration; Fendi was transformed into a literal club. Football jerseys and rugby T-shirts proudly announced the house’s name. The youthful feel of sportswear made sense in a young, preppy collection. Diagonal buttons liberated the shoulder, revealing them sensually as the models walked. Furry overshirts offered whimsical punctuation while playing on one of the brand’s most important tropes. Venturini Fendi asserts her family’s legacy perfectly, revelling in the fact that, above all, Fendi is (fur) fun.

Words by Pedro Vasconcelos

DOLCE & GABBANA SS25

With their latest offering for Spring/Summer 2025, Dolce & Gabbana leaned into the romantic vision of Italian holidays. The collection, built around classic menswear codes, explored transforming wardrobe staples into statement pieces. T-shirts were oversized and made out of cream macramé. Short-sleeved button-ups were constructed out of raffia and paired with the shortest of shorts. Striped suits were decorated with elongated belts dangling as the models walked down the runway. The show also played around with more feminine accents, from billowy blouses with deep necklines tucked into richly embroidered shorts to D&G’s accessory of the season – printed silk scarfs – which were worn with short-sleeved wool turtlenecks and textured tank tops or tied around the waist as belts.

Words by Martin Onufrowicz

MSGM SS25

Fifteen years since the launch of his label MSGM, Massimo Giorgetti presented a collection that played around with the tropes of the summer Riviera aesthetic. In his latest show for the brand, combining men’s SS25 and women’s resort 2025 lines, the Italian designer looked into the clichés associated with the nautical look and put them through his humorous prism – from Breton long sleeves with stripes taking the form of waves and sailor hats which resembled paper boats to souvenir shop hoodies and dresses made of the terry material (with a bucket hat to match). In his take on the seaside dressing, Giorgetti embraced his childhood memories of vacation, embellishing his pieces with depictions of the sun, dolphins and crabs. Never afraid of a vibrant colour palette, the designer let his creative flag fly with this latest proposition – juxtaposing classic blues and whites with rich reds and acidic yellows. A staple on the Milan Fashion Week schedule, Giorgetti once again proved that one of the key elements of longevity is refusing to let go of the sense of fun in the process.

Words by Martin Onufrowicz

CELINE HOMME FW24

Six years into his tenure at Celine, Hedi Slimane continues to expand the house’s aesthetic legacy. The secret to his unceasing success lies in his ability to use what he's best known for to wordlessly broaden the definition of what Celine means today. The brand’s Homme Fall/Winter 2024 collection, titled Symphonie Fantastique is just that - an intricate orchestra of references, all masterfully conducted by Slimane.

Named after a symphony by Hector Berlioz from 1830, the composition is often considered an innovative precursor to psychedelic music. The creative director reminisces about the first time he heard it when he was just 11 years old, remembering his immediate infatuation with the piece. The track – which plays for the entire 14-minute movie presenting the menswear collection – remains one of Slimane’s personal favourites. Labelling Celine’s digital show as a film isn’t accidental; Slimane’s knack for the cinematic is on full display. In the Mojave Desert, a fleet of Celine helicopters descends from the sky, dropping off a similarly branded jukebox that catalyses the soundtrack inspiring the show’s name.

In black and white, a grievous procession of Cadillacs commences. Slowly, models start to walk on the asphalt runway. As in his previous womenswear collection, the 1960s inspiration is in full swing: slim leather jackets, collarless cropped blazers, slim pants, elegant boots - all capped by shaggy hairdos.

But the decade’s inspiration isn’t the only element carried over from Slimane’s previous show. The creative director expands his couture offerings with encrusted capes and glittering suits that shine brilliantly under the blazing desert sun. The designer’s more intricate pieces don’t feel self-indulgent; even when approaching the peak of luxury, he maintains a subdued coolness. Perhaps subdued isn’t the first word that comes to mind when watching the fully rhinestone gold coat walk down the empty road, but there’s a refreshing sobriety to Slimane’s extravagance.

Yet even among glittering capes and shiny suits, the collection’s most exciting feat is Slimane’s comeback to his design origins. Having built his name on sharp and slim tailoring, Celine’s Homme Fall/Winter 2024 collection marks a return to form. Slender silhouettes and pinstripe three-piece suits are a joyous reminder of the designer’s biggest strength.

The collection’s Western flair is unmistakable. Between aerial shots of the mountains and clips of Brayden Libero (a real-life cowboy) and his horse, Frijole, Slimane dips into the Western revival in pop culture. It isn’t just in the mood of the show; subtly flared pants and wide-brimmed hats find their natural habitat in the desert background.

Words by Pedro Vasconcelos

GUCCI CRUISE 24/25

In 1897, Guccio Gucci served as a bellboy at the Savoy Hotel. 127 years later, Kate Moss roams through the corridors of the British landmark in a slinky lingerie minidress and a giant coat as a prelude to Gucci’s cruise 2024/25 show. Despite the impact of the British capital on the brand’s heritage, the London Sabato de Sarno sees is far off from the Victorian city Gucci’s founder encountered.

Naturally, Gucci’s show took place in a London landmark that speaks to this new vision: the Tate Modern, or more specifically, the Blavatnik Building - De Sarno has an undeniable preference for brutalist settings. This time, however, the industrial edge is met with a natural softness, as the concrete walls magically grow vegetation.

Descending from the spiral staircase came the first looks. Neutral, wearable, and classic; denim was paired with caramel suede and pale yellow chiffon. The signature Ancora red wasn’t just present in the bannisters outside the museum, it was frequently seen as a pop of colour in neutral looks or monochromatic playsuits and full leather sets.

Despite the distance from De Sarno’s and Guccio Gucci’s London, there were some faint Victorian tinges, particularly in intricate white lace pieces ranging from skimpy sets to tight maxi dresses.

As it has become the custom of the new Gucci, simplicity is frequently cut with elaborate luxury. For the cruise collection, intricate embroideries and mind-bending embellishments were an elegant display of craft. An empire silhouette dress utilised the curious embellishing technique to distort colourful tartan into delicate fringe that blended light pink into a deep sage green as it descended the body. The square fringe embellishments, perhaps an allusion to the stereotypically British pattern, were again seen in oversized minidresses and light green sets.

Bags were both mini and maxi, the latter inflating the classic Jackie model into assertively practical proportions.  Completely transparent sets of short-sleeve shirts and long skirts revived the original purpose of a cruise collection - holiday wear.

The collection reached its end on a striking note, with pleated flowy dresses sensually grazing the green and grey maze as the models walked back up the imposing staircase. 

Words by Pedro Vasconcelos

CHANEL CRUISE 24/25

Last season, Virginie Viard brought the Atlantic seaside to Paris, but for Chanel’s cruise 2024/2025 collection, the designer juxtaposes Parisian sensibilities with the Mediterranean breeze. Presented in Marseille, the cultural mecca of the French Mediterranean coast, the show was a fun, lighter take on the Chanel identity, intertwining classic house codes with a sabbatical edge.

Over Viard’s reign at the helm of Chanel, the designer has deepened the brand’s connection to film, effortlessly blending cinematic narratives with the clothes she creates. For this cruise season, the film that preceded it was a dynamic portrayal of Marseille as a city of both deep history and effervescent creative culture. Dancers of the Ballet National de Marseille danced with Marion Barbeau in the city’s most identifiable landmarks. The preview for the movie (and the collection) ended atop the MAMO Centre d'art de la Cité radieuse de Marseille. The show picked up right where the short preview left off, on the roof of the iconic building.

The collection opened with a classic tweed Chanel suit in a bubbly shade of green, unorthodoxly paired with a thin grey hoodie. If taken as a casual styling decision at first, hoods proved to be a constant, at times used to lighten up classic silhouettes, and at others to fulfil practical necessities. Yes, a Chanel scuba mini-dress is a necessity.

Crochet was woven throughout the show, from grey miniskirt-and-cardigan sets to halter mini dresses, adding to the youthful feel. There were space-age inclinations, like a silver plaid mini and jacket set, monochromatically matched with a ribbed tank top. Multicoloured pebbled pockets mirrored the show’s location, drawing inspiration from the retro-futuristic energy that emanates from the museum. The collection culminated in 12 white looks that ranged from extremely casual to what could only be described as appropriate beach wedding attire. 

Under Viard’s guidance, Marseille becomes Chanel’s playground. From two films directed by Ladj Ly to a photo diary by Jamie Hawkesworth, with time for a broadcast appropriately named Radio Chanel, the brand doesn’t just use the city’s cultural atmosphere for inspiration, it actively contributes to it. 

Words by Pedro Vasconcelos

CELINE FW24

A week after the end of fashion month, Hedi Slimane presented arguably one of the season's best collections. Drawing inspiration from the 1960s, which he considers the golden age of the brand, the designer showcased a collection that epitomised Celine. In a short film, Slimane revamped the brand's lexicon under his leadership, while also paying a touching homage to his mentor, introducing a beauty line, and incorporating 20 couture looks.

Throughout the hallways of Parisian art deco landmarks, models exhibited what is unquestionably one of Slimane’s finest collections for the Maison. The opening look was a conservatively structured black minidress adorned with thick ropes of pearls - think Breakfast at Tiffany’s meets Twiggy. Simultaneously showcased in various venues, models flaunted checkered matching sets in the galleries of the Musée des Arts Décoratifs, Space Age-inspired minidresses in the Salle Pleyel theatre, and A-line capes in the Maison de la Chimie.

The homage to Celine permeated the collection, not only in its overall BCBG look and feel but also in the frequent cuts to the Arc de Triomphe. This French landmark is deeply entwined with the Maison’s DNA. Legend has it that the brand’s founder, Céline Vipiana, was stranded near the monument in 1971, and while gazing at it, she was inspired to create Celine’s now instantly recognizable monogram. Appropriately titled “La Collection de l’Arc de Triomphe,” the brand’s Fall/Winter 2024 collection was brimming with the iconic symbol, notably in the incredibly desirable bubbly pillbox hats.

The bulbous shape was further explored in intriguing puffy fur coats and sweet babydoll silhouettes, some of which were part of a 20-look couture capsule concealed within the ready-to-wear collection, featuring intricate embellishments, snazzy sparkly collars, and razor-sharp cuts.

In the captivating video that introduced the collection, Slimane also teased an exciting new venture for the Maison. Following Celine’s successful launch of its perfumery collection in 2019, the brand is expanding its offerings with an elegantly packaged beauty line. Commencing with 15 shades of lipstick, the new range will be available in 2025.

According to Slimane, the collection wasn’t merely a tribute to Celine’s legacy but also a homage to one of his most significant mentors, Richard Avedon. The American photographer, renowned for his portraits, was a close collaborator of the designer. While honouring Avedon, Slimane orchestrated a tactful ode to his Maison, introduced a beauty line, and presented a striking short film, proving that sometimes, you can in fact have it all.

Words by Pedro Vasconcelos

LACOSTE FW24

With its new chapter led by creative director Pelagia Kolotouros, Lacoste is going back to its tennis roots. Staged at the Roland Garros stadium – the location of the yearly French Open tournament – the brand’s Fall/Winter 2024 show played around with the classic tropes of the game’s uniform. Pleated skirts were either elongated or shown in their more traditional format, but styled over trousers. A cream tennis dress was transformed into a floor-length gown with an off-the-shoulder neckline. Cable-knit sweaters were mega-cropped and worn under blazers. Furthermore, Kolotouros used the iconic emblems of the sportswear house and gave them a modern twist – from looks head-to-toe in Lacoste’s signature green to garments covered in prints of the instantly recognisable alligator. One of our favourite moments from the collection was the silk black and white pieces printed with vintage photographs of tennis matches – a sure way to stand out in the crowd during the next tournament season.

Words by Martin Onufrowicz

SAINT LAURENT FW24

There is something so remarkable about Anthony Vaccarello’s “surprise” menswear show. The refusal to conform to the men’s schedule and, instead, closing the fashion month feels right. Nothing describes the Saint Laurent man better — it’s about nerve. After all, that’s what it takes to wear a voluminous black leather coat, one of the standout pieces of the Fall/Winter 2024 collection.

An array of shiny coats paraded slickly down the runway. From structured peacoats to boxy jackets, most were accompanied by caps of the same fabric — a nod to Yves Saint Laurent’s accessories from the 1960s. Vaccarello’s references to the founder of the Maison are omnipresent; however, this season, he took it a step further: a literal doppelganger opened the collection with Mr. Saint Laurent’s iconic glasses and suit, the first of many that elegantly swayed on the runway. There was something special about the way suits moved, both rigid in the shoulders and fluid on the body. To achieve this peculiar effect, Vaccarello based all the tailoring on flou, a term that describes the search for the ultimate fluidity, opposing itself to the solid construction tailoring presumes.

Confessing himself inspired by the movie American Psycho, there was something methodical about the collection. Elegance doesn’t just happen; it requires meticulous planning. Besides Christian Bale and Mr. Saint Laurent, there were slight nods to the womenswear show staged just a week prior. The powdery neutral palette was similar, even if not through sheer fabrics (except in the case of one lone see-through shirt). Suits in greyish shades of khaki, cream, and brown contrasted with matching shirts and ties. Ending a hectic fashion month, Vaccarello reassured us that in fashion, intelligently made clothing will beat out any stunt.

Words by Pedro Vasconcelos

LOUIS VUITTON FW24

In today’s fashion landscape, staying at the helm of a major fashion brand as a creative director for over a decade is truly a unique experience. Last night, Nicolas Ghesquière celebrated his 10-year anniversary at Louis Vuitton with a collection more than fit for this monumental occasion.

 Staged in the larger-than-life venue at the house’s go-to Parisian location, the Louvre, the designer’s Fall/Winter 2024 offering was spectacular in its ingenuity. The show opened with a line-up centred around incredibly desirable technical windbreakers constructed in silk. This start was a great sign of what’s to come. The collection showcased some of the best outerwear of the season – from shiny embellished bombers to roomy shearling coats and tailored wool jackets with long side panels.

Throughout the show, Ghesquière also presented looks whose simplicity let his immaculate construction skills shine. Grey wool jackets were a modern take on power suiting from the designer’s favourite decade – the 1980s – while short dresses in the same fabric showcased his unmatched draping techniques. These more toned-down silhouettes were brilliantly juxtaposed with garments focused around his love for rich textures, with opulently embellished blazers and final dresses being highlights of this category.

Over the past 10 years, the designer excelled at creating immediately-recognizable accessories which have become staples in Louis Vuitton’s vocabulary. His iconic creations, such as the Petite Malle bag he premiered in his very first collection, were presented in the latest show in unique colourways alongside new handbag propositions. An accessory that seems to be Ghesquière’s very welcome obsession this season are fur mittens – used as a finishing touch in half of the looks on the runway.

In the collection, the designer was not afraid to reference moments from throughout his tenure, showing their timeless appeal – from floor-length gowns with long sleeves and strong shoulders to Louis XVI-inspired coats, and dresses with signature asymmetric hems. In the show notes, Ghesquière said, “Ten years later, this evening is a new dawn.” And with those words, we can’t wait to see what else he has in store for us in years to come.

Words by Martin Onufrowicz

CHANEL FW24

Themes have become central to modern fashion shows. Just this season, we’ve seen inspirations range from Edgar Allan Poe’s poems to Albert York’s landscapes. But some prefer to root their collection’s starting point in something slightly more personal. Designers like Virginie Viard look inward to find references. For Chanel’s Fall/Winter 2024 collection, the French designer tasked herself with educating the masses on the Maison’s origins.

Chanel’s catwalk this season was built to resemble a wooden boardwalk, but not just any one — it was a precise recreation of the one in Normandy, specifically the Deauville boardwalk. The small seaside city may seem inconspicuous to non-Chanel enthusiasts, but the Maison’s history is rooted in it. In 1912, the then-milliner, Gabrielle “Coco” Chanel, began selling her elegant hats, quickly expanding into a clothing line. Viard’s reverence for the founder of the brand she now leads is omnipresent. Expanding beyond the catwalk, models walked out in classic Chanel tropes. 

Despite the beachy setting, the collection provided options suitable for the rigid French winter. Broad-shouldered pea coats and long tweed coats came in an array of colours. Boxy tweed jackets were paired with their matching skirts. Cropped trousers appealed to the classic Chanel masculinity, while full leather looks gave the collection a 1970s edge. But the star of the show was its hats. Harkening back to its milliner days, Chanel created a beautiful and interesting collection of headwear. Viard has unlocked a new skill. Her creations were big but not heavy, elegant but not boring. By the end of the show, the artificial sunlight had started to dim — marking the end of a wonderful, even if quick, beach day spent with Chanel.

Words by Pedro Vasconcelos

MIU MIU FW24

At Miu Miu, the gloves stay on. With her latest collection for the brand, Miuccia Prada showcased her obsession with the classic winter accessory. From ski-like pairs finishing just above the wrist to extra-long ones whose shape resembled technical gear, leather gloves were an accent that accompanied every single look on the catwalk. When it came to the clothes, the garments were a play on traditional bourgeois wardrobe staples - with Miu Miu’s signature naughty twist, of course! Pea coats were accessorised with pearl necklaces spilling out of undone collars. Oversized circle skirts were juxtaposed with chunky pirate boots going up all the way to the knee. Crushed silk dresses were contrasted with hotel slippers done in leather. The menswear offering was similarly centred around reimagining classics - from roomy hunting jackets constructed in a padded material to fur coats and knitted twin sets worn with pyjamas. The show ended on a deliciously perverse note, with a triptych of black cocktail dresses with dramatic cutouts paired with big croc-embossed gloves. As is customary with Miu Miu, the casting perfectly reflected the atmosphere of the collection, with friends of the house like actors Kristin Scott Thomas and Luther Ford, stylist Dara Allen, and musician Ethel Cain strutting alongside the models on the runway.

Words by Martin Onufrowicz

VALENTINO FW24

Pierpaolo Piccioli’s use of colour is debated every single time a Valentino collection debuts. It’s impossible not to bring it up; besides fashion, colour is the Italian designer’s medium. This season, Piccioli made a statement. Colour was absent, but in its place, a sea of black inundated the runway. Appropriately named “Le Noir,” the decision to scrap his idiosyncratic use of vibrant hues came from a Charles Baudelaire quote that reads: “Black is the uniform of democracy.”

For Piccioli, black was a blank canvas. Restricted from using colours to tell a story, the designer did so through textures, transparencies, and shapes. Speaking of, there was hardly a silhouette Piccioli left untouched. Everything from flowy gowns to structured hoodies was subject to his exploration. The show started with sweet mini dresses that, despite their angular shoulders, swayed daintily as the models walked.

Similarly, different textures paraded down the runway with not much else in common but their colour and Valentino's characteristic elegance. A thick vinyl coat was followed by joyful tulle skirts. Shiny fringed skirts juxtaposed laser-cut floral dresses. The collection ended with an array of sheer gowns, the last one being a particular standout — a transparent halter-neck dress covered the model's naked body in delicate flowers. Piccioli proves he doesn’t need colour to make a successful collection; if anything, colour needs him.

Words by Pedro Vasconcelos

ALEXANDER MCQUEEN FW24

Alexander McQueen is worshipped by the fashion crowd. There’s a sense of protection when it comes to his legacy. After all, his designs are part of the reason most began to think of fashion as an expansive art form. For over a decade after his death, Sarah Burton, his right-hand woman, took over and carried on his legacy respectfully. But now, for the first time since its inception, the house of McQueen has an outsider at its helm. The one tasked with this challenging role was Seán McGirr, an Irish designer who was previously at JW Anderson and Uniqlo.

For his debut, McGirr said he channelled the spirit of the earlier Alexander McQueen shows. Despite his admiration for the British designer’s impact, he admitted that he only had three months to create the Fall/Winter 2024 collection. Because of time constraints, he was forced to resort to visual research instead of visiting the physical archives. Still, references to “The Birds” were made rather obviously in the opening look that encapsulated the model’s arms in the black laminated silk jersey.

The classic McQueen edge was reworked, modulated in a different, less serious manner. Hoof shoes galloped down the runway, and smashed crystal dresses were impressive, though we were expecting them — they were some of the only clothing shown in the campaign that preceded McGirr’s debut show.

The menswear offers were exceptional. From studded bomber jackets complemented with furry jeans to sharply tailored leather trench coats that exuded Jack the Ripper energy. The men’s offers specifically seemed to be rooted in British edge.

Despite the nods to the founder of the brand, there were almost none made to his successor. Instead, McGirr showed his idiosyncratic elements in his first audience-facing role. The designer’s time at JW Anderson peeked through in oversized knits that restricted the wearer, resembling tyres around the body. The Irish designer replaces McQueen’s aggressive design choices and soothes them, making them almost witty.

As with any designer who would step into the house of McQueen, McGirr’s debut sparked extensive discourse online. But the collection showed immense promise. Now gifted with more time for his next show, we can’t wait to see where the Irish designer takes us next time.

Words by Pedro Vasconcelos

BALENCIAGA FW24

Balenciaga’s Winter 2024 show is staged in a digital tunnel made out of hundreds of screens pieced together. This isn't the first instance that the brand has set up a multimedia experience to display its collections. This time, however, Balenciaga isn’t creating an immersive futuristic environment. Instead, they displayed an array of highly realistic A.I.-generated landscapes. Throughout the show, the models are seen angrily walking through a snowy mountainous land or a desertic canyon before reaching the streets of Paris – where the event is actually taking place. The use of A.I. in fashion is a very current topic as many wonder how new technologies will impact their jobs. Demna Gvasalia is once again at the forefront of progress. Here, A.I. is used to paint images of lands filled with sun and fireworks. The scene is dystopian but surprisingly optimistic.

The collection references technology through its offering of accessories featuring futuristic shield sunglasses and bracelets made to carry an iPhone. The tone is set. The looks from Winter 2024 act as a condensed summary of Demna’s work for the brand. From the extra-oversized pieces to the garments whose purpose has been shifted, such as the denim trousers used as tops, the codes of Gvasalia’s Balenciaga are dissected and celebrated. Demna himself expressed in the runway notes that the collection is a study of the aesthetic that he has now curated for over a decade. Throughout the years, Balenciaga has successfully proven that different forms of luxury can coexist and shape the way fashion is seen and consumed. With this latest offering, Gvasalia has shown that he’s never out of clever ideas when it comes to further examining this dynamic.

Words by Marien Brandon

VETEMENTS FW24

Last season, Guram Gvasalia created a collection that ridiculed both the everyday and the glamorous. Its social media impact was certainly amplified by the creative director’s comments on his brother, establishing the sibling rivalry we can’t take our eyes off. If there’s one thing the youngest Gvasalia can do, it is stir up conversation. This fact is undeniably obvious with the Vetements Fall/Winter 2024 collection.

The Swiss brand’s show is always a who’s who of people you probably follow on Instagram. This season, the rich and famous jumped from their front-row chairs onto the catwalk. From niche celebrities to mega-popular ones, the casting’s social media reach was amplified by the clothes they wore. Ever the online troll, Gurum put Anwar Hadid in an oversized T-shirt that read: “Not Mom’s Favorite.” Georgina Rodriguez appeared on the runway in an elongated football shirt, replicating the uniform of her husband, Cristiano Ronaldo.

A sense of irony is constant in Vetements. Beyond oversized T-shirts that poked fun at its models, ridiculous amalgamations of teddy bears made up voluminous coats. The pieces, which made the bears sway as they moved on the catwalk, were a collaboration with Jean-Charles de Castelbajac. Oversized blazers, denim jackets, and gowns closed the elegantly ironic collection, with the honour of ending the show given to the beloved actress Marcia Cross in a red sequined gown that emulated her ever-identifiable hair.

Words by Pedro Vasconcelos

LOEWE FW24

If there's one thing Jonathan Anderson will do, it's to get inspired by an artist for a collection. For Loewe Fall/Winter 2024, the Irish designer looked into the work of Albert York, an American artist known for his landscapes and still life. York’s art wasn’t merely Anderson’s muse; it was part of the physical framing of the collection — the tent the show took place in had 18 paintings by the artist on its walls. References to it came in the shape of floral matching sets and oddly draped dresses. The latter is one of Anderson’s staples. This season’s peculiar roster was made up of uniquely belted sleeveless maxi dresses and geometrically challenging bow-shaped minis.

The designer’s omnipresent surrealist kink was on full display in (very) high-waisted trousers with dramatic metal bubbles and billowy cargo pants that distorted their wearer’s legs. The exploration of high-class aesthetics was interesting. Displacing a tailcoat’s tails off to the side, the designer reinterpreted a classic in a curious yet palatable way. Clunky metal lapels on structured wool coats were a definite standout. Coming in both organic and angular iterations, the metallic collars grabbed your attention as the models walked, stiffly opposing the moving fabric. It’s fruitless to worry about Jonathan Anderson; he’s long proven mastery over his craft.

Words by Pedro Vasconcelos

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