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

CHLOÉ SS25

The appointment of Chemena Kamali as the creative director of the Parisian Maison Chloé was announced exactly one year ago, signalling a return to the timeless vision pioneered by Gaby Aghion and later shaped by Karl Lagerfeld, evoking the brand’s storied legacy.

Kamali had started at Chloé under Phoebe Philo, and the expectations were high. After a successful first show and the official return of hippie chic, the industry counted on her to prove that it was not just beginner's luck.

For her second collection as the creative head of the brand, Kamali presented a bohemian show at the Tennis Club de Paris in a naturistic and minimalistic setting adorned with plants, where savoir-faire and romanticism merged. Reminiscing about the youth culture of the ‘70s, this collection showcases Chloé’s roots and strengths.

Feminine at its core and with flawless constructions, the pieces were distinguished by their volume, soft movement and ethereal forms. Transparencies and loose fabrics created a light vibe throughout the show, while ruffles, bolero-inspired pieces, and babydoll silhouettes resulted in looks displaying a playful innocence.

Lace was the common thread of the looks, present throughout the collection in tops, dresses, ankle-tied corsair pants and delicate lingerie, which created a charming aesthetic. Pastels maintained the cohesion of the collection; however, floral prints in strong colours and large motifs adorned voluminous dresses, creating an unexpected twist to the austere palette. Perfectly tailored high-waisted pants with bell bottoms, along with jackets and long coats, showcased a wardrobe for the city woman, while keeping it fresh.

The collection reinterpreted the house’s codes in a modern way, creating an effortless wardrobe and portraying the feeling of a summer pause. The show denoted Kamali’s knowledge of the Maison and her mastery of meticulously crafted pieces.

Words by Carolina Benjumea

SAINT LAURENT SS25

“Yes.” “Yes.” “Yes.” “Hell yes.” The person next to me when witnessing the latest Saint Laurent show punctuated it perfectly. As each look came out, another euphoric wail rang in my ears. It’s hard to blame them. Saint Laurent’s latest show was nothing short of masterful. 

At first glance, Antony Vaccarello’s latest show appeared to be an extension of the house’s previous menswear presentation, where technically masterful suiting played a central role. But that impression fades upon closer inspection. In reality, the two collections share little in common. The male counterpart of the Saint Laurent suit was achieved through flou—an ancient technique that prioritizes fluidity above all. The tailoring in this new collection, however, was the exact opposite. The suits that graced the runway were anything but fluid; they were commanding.

Strong shoulders gave the suits an imposing presence, broadening the models’ frames as a power play. As Vaccarello noted backstage, this was not about sex appeal—a trope female suiting often falls into—but about authority. The completeness of each look emphasised this point. There wasn’t a bare chest in sight. Every suit was finished with crisp shirts, wide ties, and (not or) opulent accessories. From the top of their glasses to their golden, pointed toes, the Saint Laurent woman exudes power. 

The brand has long been synonymous with female tailoring—Le Smoking is forever etched into fashion history. But something felt different here. These suits weren’t merely lazy nods to the past. The collection’s starting point was the creator himself: based on an interview where Yves Saint Laurent declared himself as the YSL woman, Vaccarello sculpted models in that very image. Heavy-set glasses complemented the suits, many partially covered by equally powerful outerwear. It’s rare for a creator—rather than their creations—to serve as the source of inspiration, but such is the boldness of the house.

In contrast to the precise tailoring, Vaccarello also played with a bohemian allure. Floor-length skirts were first highlighted with bobble necklaces and then muted with oversized leather jackets. Deeply hued tunics over fluid trousers continued the dialogue, one that directly referenced the maison’s history.

Then, after a particularly dark sequence of suits, the commanding tailoring came to a sudden halt—replaced by an opulent explosion of colour. Brocade ensembles maintained similar silhouettes but ventured into diverging hues. Broad-shouldered jackets, lace blouses, and layered skirts blended rich purples, vibrant teals, and seductive reds—creating a striking mix that was both dissonant and harmonious. The Saint Laurent woman contains multitudes. 

Words by Pedro Vasconcelos

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BOTTEGA VENETA SS25

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Upon entering the venue of the Bottega Veneta Spring/Summer 2025 show, a zoo of sorts appeared right in front of the attendees’ eyes. Surrounded by dimmed light, a cornucopia of beanbags in the shape of animals – horses, foxes, rabbits, whales, elephants, you name it – provided the seating for the guests. This playful set-up instantly indicated what’s been on Matthieu Blazy’s mind this season. A sense of childlike wonder permeated the majority of the looks, creating a captivating contrast with the top-of-the-top level of craftsmanship that the Italian luxury brand is known for.

The offering began with a line-up inspired by the desires we have as children to try on our parents’ clothes. The tailoring’s proportions were blown up – the shoulders were ultra-wide and the lapels were almost touching the sleeves. And although Bottega’s signature elegance was out in full force, elements of unabashed glee started to peek through – from plastic-like bags (in leather, of course) with pictures of mermaids to a pink backpack nonchalantly hanging off the shoulder. The farm from the venue further found its way onto the presented garments. Frog brooches decorated long-sleeved dresses and cardigans, while a rabbit was printed on a creased T-shirt. Blazy also continued his favourite game of “Is it leather?” (it usually is), accessorizing the looks with woven flowers, shiny lunch bags, and even creating a sequined skirt made completely out of leather paillettes. The collection closed with a range of silhouettes paired with extravagant shaggy and spiky hats – a beautiful exclamation point to Blazy’s joyous vision for next spring.

Words by Martin Onufrowicz

LORO PIANA SS25

When it comes to next spring, in Loro Piana’s view, a hat is of the essence. Presenting their Spring/Summer 2025 collection in Milan, the Italian luxury brand showcased a wide variety of elegant headwear with majority of the looks – from wool and woven pillbox shapes to sailor-inspired hats and more abstract propositions resembling a tied headscarf. The accessories excellence was displayed further in the shape of mules in sturdy silk and supple leather, inspired by the traditional Moroccan babouche slippers, and the playful bags constructed out of a silk scarf and detachable strap. 

As for the clothes, the collection featured an abundance of sophisticated silhouettes for day and night. A brown wool blazer had its lapels erased and was paired with a flowy tunic and loose trousers. A short suited set was complimented by mules on a chunky heel (worn with cashmere socks). As for the eveningwear attire, a knee-length dress was given a dramatic flair in the shape of a cape-like draping on top, while a see-through pleated skirt and blouse with billowy sleeves were styled with a fitted and cropped vest.

Words by Martin Onufrowicz

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DIESEL SS25

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As soon as guests stepped into the venue for the Diesel Spring/Summer 2025 show, it was a denim overload. The space, filled with almost 15,000 kg worth of denim scraps, was part of an immersive experience. Over the speakers, an AI voice recited the Wikipedia entry on denim. Since his appointment to the Italian brand, Glenn Martens has remained true to Diesel’s DNA. Even when he ventures creatively—last season’s waxed braided knitwear is still fresh in our minds—Diesel proudly remains a denim brand.

Martens' tenure has not only been creatively prosperous but has also marked a shift in the brand's sustainability practices. Under his leadership, the use of organic or recycled cotton has increased from 3% to 57%. We can exhale—the scraps that flood the venue floor will be repurposed too.

Aesthetically, this season felt like a paring back, a more minimalist approach compared to previous collections. In place of vibrant colours or seductively sheer creations, Martens created a homecoming of sorts. The collection opened with a series of distressed looks, with denim strings used as fringe, laces, and scarves.

The fraying extended beyond its original medium. Leather pieces had open wounds, bleeding fringe to mimic a distressed material. A Prince of Wales printed leather section was particularly mouthwatering. 

Leather was transformed and printed on to emulate denim with uncanny precision. There's an irony in that: leather, a more expensive textile, undergoes an equally costly process to resemble a more affordable material. But that encapsulates Diesel perfectly—as the voice that echoed through the venue before the show declared, "Diesel is denim."

Words by Pedro Vasconcelos

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GUCCI SS25

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Sabato De Sarno is celebrating his first anniversary at Gucci. Despite a year marked by uncertainty—a challenge that has plagued the entire industry—his Spring/Summer 2025 collection proves the designer’s vision for the brand is solid. This season, De Sarno found inspiration in a comforting source: the vacation he took with his family earlier in the year. Drawn to the jet-set glamour of a bygone era, the designer made Jackie O his muse.

The show, however, opened with familiar looks—what we've come to recognize as Sabato’s staples. Through his vision, minimalism is the quickest path to elegance. A fitted tank top paired with perfectly oversized trousers recalls the style of the chicest women we know.

Modern casualness soon gives way to the true inspiration for the collection. Gradually, ‘60s silhouettes and patterns emerge. Light twinsets and oversized sunglasses soon dominate the runway, while elsewhere, intricately fringed dresses create curved patterns on tailored coats.

The ‘60s feel like a natural home for De Sarno’s aesthetic. A lime green leather shift dress exemplifies this idea. Although the style is one the designer has referenced in the past, in the context of this collection, it feels perfectly at home.

The highlight of the show came in the form of ever-so-slightly puffed miniskirts. These delightfully architectural creations managed to feel both elegant and playful—a balance that defines De Sarno’s Gucci. 

The collection read like a celebration, especially by the end of the show, when 1986 hit Non voglio mica la luna blared through the speakers. As the audience started to sing along, so did the models, happily hopping down the runway, some even holding hands. It was a bright, joyful collection with a happy ending. Even amidst external uncertainty, De Sarno's sunshine shines through.

Words by Pedro Vasconcelos

VERSACE SS25

How can you not love Donatella Versace? Season after season, the Italian queen of glamour presents collections that are a welcome change in the at-times overtly serious fashion week schedule. For the Spring/Summer 2025 show, Versace decided to revisit one of her favourite collections that she designed for Versus – the house’s diffusion line which she was in charge of while her brother, Gianni, was still at the helm of the main brand – back in 1996 ( for Spring ‘97). Almost three decades since the show took place in New York, Versace felt nostalgic for the sense of joyfulness and spontaneity of the times which that collection so clearly evoked, and decided to bring it back in its more modern iteration.

The offering opened with looks which playfully clashed zigzaggy knitted cardigans and polos with slinky floral skirts. The psychedelic prints were further explored in sets inspired by pajamas (worn with a mod haircut covering the eyeline) and see-through tops and dresses paired with equally see-through red tights. The colour palette screamed 1970s in the best possible way, with pale yellow and lavender garments being particularly desirable propositions. The vintage hues were complimented with nods to Western – from washed jeans to brown leather vests and suede jackets fit for a modern (and super sexy!) cowboy.

Words by Martin Onufrowicz

TOD'S SS25

Upon entering the show venue for the Tod’s Spring/Summer 2025 show, the guests encountered a supersized sculpture of hands holding ribbons by artist Lorenzo Quinn. This specially commissioned piece was a telling sign of what’s to come. The sense of softness evoked by the sculpture was completely reciprocated in the sumptuous clothes. Matteo Tamburini, the house’s creative director, knows how to play with the finest materials – after all, he previously worked as the head designer at Bottega Veneta. Using the supplest of leathers as his modus operandi, Tamburini showcased ultra-sharp blazers and coats cinched at the waist (in chocolate brown and cream), as well as voluminous pleated skirts and dresses. 

The leather standout looks were accompanied by pieces in sturdy cotton and linen which were in equal measure architectural and comfortable – a perfect combination when it comes to eye-catching daywear. The boatneck tops seen in the opening section referenced sailing, while the zip-up jumpers (worn under coats and blazers) looked into cycling as inspiration. The skirts and dresses towards the end featured a striking detail resembling hanged curtains, in this case either on belts or necklaces – creating incredibly elegant draped silhouettes.

Tod’s is a house with a rich tradition in accessories (with the driving loafer classic design reigning supreme for decades) and Tamburini offered a variety of clever and luxurious propositions in this department – from small leather lipstick holders worn as necklaces to desirable bags inspired by baskets and thinly-strapped leather sandals with a chunky platform.

Words by Martin Onufrowicz

GCDS SS25

"Bad tattoos on leather-tanned skin. Jesus Christ on a plastic sign." Charli XCX’s Everything is Romantic plays as the GCDS show begins. Of course, this isn’t the Spotify version—what we hear is a custom remix made by Charli herself. The song didn’t need much introduction, not after flooding our timeline with end-of-summer posts, but it set the tone perfectly. As the first looks appeared, the collection’s context became clear: Brat-branded green saturated everything from furry bags to monochromatic catsuits.

Unsurprisingly, Charli served as a muse for the collection—or rather, her attitude did. Giuliano Calza cited both the pop star and Bianca Censori as muses, with the latter referenced in semi-transparent bodysuits that mimicked tights.

These bodysuits, along with V-shaped elastic tops, carried a similar energy, infused with a distinct DIY aesthetic—a nod Calza made no effort to hide. Inspired by the mainstream rise of niche subcultures, the designer sought to evoke a sense of bedroom-confined community.

GCDS’ signature playful sexiness was fully on display in cheeky nipple covers, naturally shaped like Sanrio’s beloved characters. While we hoped to see Cinnamoroll, we’ll happily settle for a Badtz-Maru mesh top that barely concealed the model’s chest.

Words by Pedro Vasconcelos

MOSCHINO SS25

Oh, what a joy it is to see a designer truly thrive. After two seasons at the helm of Moschino, Adrian Appiolaza is hitting his stride. Not that his past two collections were unsatisfactory—far from it—but Spring/Summer 2025 feels like the work of a designer fully at ease with his creative vision.

The collection is a triumph from multiple angles. First, Appiolaza speaks to the Moschino client with remarkable skill. Despite a significant aesthetic shift from the brand’s previous direction, there’s a clear continuity.

A colourful, word-covered print evokes memories of his predecessor’s time at the company. However, where Jeremy Scott’s playfulness often leaned toward camp, Appiolaza opts for subtlety.

At first glance, the opening looks seem like a lighthearted nod to domestic bliss, reminiscent of children draping sheets over themselves in imaginative ways. But, of course, that’s just child’s play. This simplicity is only the first layer of interpretation—Appiolaza’s true talent lies in the underlying complexity woven throughout all 46 offerings.

The initial white pieces were inspired by photos of Franco Moschino, the brand’s founder, twisting white fabric around a mannequin. Meanwhile, the vibrant prints were crafted by the legendary Terry Jones, co-founder of i-D magazine—what a timely collaboration, as the publication has just relaunched.

Appealing to a wide audience is no easy feat, but Appiolaza pulls it off. Fashion enthusiasts will appreciate the niche references, while the clientele is invigorated by a fresh take on a winning formula. Even the most casual observers will find entertainment in the designer’s “camp light” approach.

Words by Pedro Vasconcelos

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EMPORIO ARMANI SS25

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In his first runway offering since his big 90th birthday celebrations this past July, Mr Armani showed in his latest Spring/Summer 2025 collection for Emporio Armani that his creativity is endless. Starting the show with one of his biggest signatures, the soft suiting, the Italian designer decorated the timeless looks (this time in blue and seafoam green checked wool fabrics) with classic silver ties emblazoned with the house’s instantly recognisable logos. Following this opening, Mr Armani caught our attention with the sets in vibrant pinks – from a Chinese-inspired jacket in heavy silk paired with transparent billowy chiffon trousers, to a printed short suit adorned with chunky buttons and accessorised with a silky beanie. Towards the eveningwear portion of the offering, the designer let the shimmer take centre stage. A sleeveless paillette top was worn with the glistening trousers in pale purple, while a black dress in the same fabric (albeit in black) made a chic statement with a hat tied on the neck with an oversized string which doubled as a necklace.

Words by Martin Onufrowicz

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PRADA SS25

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Miuccia Prada has, over her 36 years in the industry, established an idiosyncratic authority. Her decisions are not guided by the same metrics as other designers because, as she has demonstrated season after season for almost four decades, she operates in a league of her own. Take Spring/Summer 2025 as an example. Those watching the collection unfold might have been perplexed as the 49 looks appeared on the runway. There seemed to be a lack of a clear "point"—the kind of poignant statement we’ve come to expect from Prada’s collections. Our best guess while observing in real time was "superhero." Yet, even then, we knew to wait for the intellectual purpose that fuelled the collection.

Echoes of the previous menswear collection appeared in trompe-l’oeil printed polos, wired collars, and a metallic miniskirt reminiscent of the sunglasses worn by male models just over three months ago. Oversized eyelet-filled—or rather, emptied—skirts and dresses caught the eye in bright metallics and shiny blacks. Headgear and extravagant eyewear were the main evidence in the superhero indictment, further fueled by a multitude of colourful tights. Confusion reigned as we tried to make sense of it all. Then, as soon as Miuccia Prada and Raf Simons spoke backstage, the pieces of their clever puzzle fell neatly into place.

In a time of plurality, where the world is shaped by a powerful, Orwellian-like force, the duo chose to comment on the era we live in. Always an astute observer—though not a critic, as Mrs. Prada herself clarifies—the collection feels like a reflection on the blurring boundaries between real life and algorithmic control. Unpredictability itself is the catalyst for parka-covered feathered dresses or belted leggings. 

This concept pervaded the entire collection, from the way the looks were created—completely different from any of their previous collections, as the duo explained backstage—to the smallest details. Shoes were all different, all somehow inspired by previous collections —perhaps a comment on the AI recreations we’ve all become a bit too accustomed to. Despite the high standard the duo has set for themselves, the ability to constantly raise the bar is ever-mesmerizing to witness. 

Words by Pedro Vasconcelos

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MARNI SS25

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It's almost impossible not to adore Marni. Under Francesco Risso's leadership, the Italian brand has become the embodiment of polished whimsy. Even setting aside the obvious favouritism, it's undeniable that the brand has tapped into its place in the industry. Following last season's extravagantly surrealist approach, the Spring/Summer 2025 collection took a subtler direction— a word rarely associated with Marni. Through the playful elegance of his designs, Risso creates a collection that captures fleeting beauty. 

If in the last collection, the designer took on a paintbrush as the main source of inspiration, this season, all 54 looks took the place of a blank canvas — all made entirely out of cotton. In Risso's hands, the material transformed into a multitude of forms, contorting into origami-like shapes, or lacquered to mimic leather.

The collection opened with simpler looks. Tight trousers were paired with slightly oversized blazers in neutral shades. Whimsy appeared gradually. First, with a pop of colour in shades of light mint and yellowish beige. Then, unexpectedly, the hem of a tight-fitting pencil skirt exploded, while cropped jackets featured exaggerated shoulders. Shiny pussy-bow blouses paved the way for large-scale floral prints. Finally, (literal) eyebrow-raising silhouettes took over the runway, with comically oversized shoulders and mermaid-like skirts adorned with paper-feather boas.

Risso is intimately familiar with the concept of climax. After a steady build-up, the show ended with three gowns that, as Risso explained backstage, were meant to embody beauty itself. Not that we needed his words. The stunning fabric feathers, hiding crystallized floral appliqués in pannier-skirted dresses, said it all. As quickly as they appeared, the three gowns vanished — as the poem placed on each seat prophesied, beauty is but a white rabbit galloping through a dark forest.

Words by Pedro Vasconcelos

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FENDI SS25

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For Fendi’s Spring/Summer 2025 collection, Kim Jones continues the celebration of the Roman brand’s 100th anniversary. Marking the first womenswear show of the centenary, the designer reflects on the emotional and historical depth of a legacy that spans a century.

The emotional resonance became evident as soon as the speakers came to life, projecting the voices of Silvia Venturini Fendi and Anna Fendi—Fendi’s artistic director of accessories and menswear and her mother—who spoke about the house’s history, not just as a brand but as a family. Jones often draws inspiration from this personal aspect of the brand. Silvia’s daughter, Delfina, is not only the brand’s jewellery designer but also Jones’ frequent muse. It’s no surprise, then, that this celebratory collection highlights the fact that at its core, Fendi is a family business.

That’s not, of course, all the brand is. Fendi has spanned a century of cultural revolutions. To convey the house’s broader significance, Jones drew inspiration from the decade in which Fendi began as a leather goods manufacturer. 1925 not only marked the peak of the Roaring Twenties but also the year of the International Exhibition of Modern Decorative and Industrial Arts, which spawned the Art Deco movement. The artistic influence was evident as soon as the models started walking down the runway. Geometric patterned transparent dresses, one of which featured long fringes at the hemline were the first to appear on the runway. The nod to flapper-like flair wasn’t always as overt—short shift dresses were layered with transparent shirts embroidered with delicate, shiny flowers.

The collection’s inspiration extended beyond aesthetics; there was a clear historical dimension to Jones’ vision. Casual separates and sportswear were integrated with the historical references popularized in the 1920s. Despite a clear inspiration source, Jones’ collection didn’t read as a Great Gatsby (high-budget) recreation — there was a palpable modern whimsy. An upside-down slip dress dangled its spaghetti straps at the model's ankles while Red Wing work boots accompanied most looks. 

As expected in any Fendi celebration, the Baguette was omnipresent. Fringes, charms, furry bouquets: the ever-iconic bag appeared in every conceivable size, shape, and texture. Perhaps the emblematic accessory best encapsulates Fendi’s ability to navigate an unpredictable zeitgeist— always changing, always consistent.

Words by Pedro Vasconcelos

JW ANDERSON SS25

Outside the JW Anderson show, the usual chaos ensued. Dozens of photographers struggled to take pictures, while bystanders eagerly sought a glimpse of their favourite celebrity — nothing new there. What was unusual, however, were the people in line to get into the show. Three children and a beautifully dressed woman stood in front of me. While kids aren’t customary at a fashion show, they’re not exactly a surprise. What is noteworthy is that mere centimetres away from me stood the woman who served as the main inspiration for the JW Anderson Spring/Summer 2025 collection — Jonathan Anderson’s sister. For his latest show, the designer focused on girlhood, exploring it through a familiar lens.

Playful femininity was evident in the bendy, hard skirts that resembled the shape of a hat's brim, or in sequin minidresses adorned with trompe l’oeil oversized buttons. Silk dresses, with sweeping lace-covered necklines, featured hemlines that exploded in volume at the front while remaining understated at the back.

There’s a push and pull in Anderson’s take on girlhood: softness is paired with structural architecture, and femininity is juxtaposed with masculine elements. Backstage, the designer once again conveyed this idea to his sister, explaining the balance it takes to be a woman—both strong and soft.

However, as is customary with Anderson, the show was not reduced to a single concept. With the responsibility of producing over eight collections a year, Anderson is focused on addressing fashion’s current state of creative excess — he's taking it upon himself to restore balance. Compared to past seasons, Spring/Summer 2025 felt more restrained. All 40 looks were made with just four materials: leather, silk, sequins and cashmere. Yet this restraint was expressed in complex ways. A silk minidress printed with the image of a knit dress was followed seconds later by an actual knitted version of the same design.

What makes Anderson’s perspective on the industry compelling is not just his authority to voice it, but how he expresses it through his creations. Rather than merely commenting on the need for restraint while continuing in the same fashion, Anderson weaves his critique directly into the very system he reflects on.

Words by Pedro Vasconcelos

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CELINE HOMME SS25

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For Celine Menswear Spring/Summer 2025, Hedi Slimane once again expands the Maison's imaginative lexicon. While last season transported us to the scorching American desert, this time, Slimane takes us back across the pond to the British countryside.

 True to form, the collection is accompanied by a film that situates it in its natural habitat. Among palaces and forests in Norfolk, England, Slimane unveils a collection focused on youth. Aptly named “The Bright Young,” the show parades tailored jackets and boating blazers, reminiscent of a secluded boarding school.

 Heraldic patches in polished silver advance the narrative by conjuring 20th-century military uniforms. Slimane doesn’t just transport us to a place—he takes us through time. Rooted in the 1920s, the collection is brimmed with references to the decade. From accessories—embodied by Richelieu shoes, monk straps, and tapered derbies—to cashmere flannels inspired by F. Scott Fitzgerald, the collection reinvents forgotten classics.

 The details are characteristically striking. Rowing jackets are elevated to couture under the hands of Celine’s ateliers. English field flowers are delicately hand-embroidered on waistcoats, while tailcoats feature silk faille gilets adorned with floral motifs composed of sequins, crystals, and pearls.

 It’s not just the technical craftsmanship that impresses; Slimane’s meticulous attention to detail is on full display. The geographic inspiration extends beyond the design into the materials themselves. Canvas tailoring is made from English cloth, rewoven by Celine to replicate 1920s summer cashmere and wool.

 To the sound of Les Indes Galantes, Slimane presents a collection that is both referential and refreshing, blending elegance with daring innovation.

Words by Pedro Vasconcelos

DRIES VAN NOTEN SS25

Deciding to step away from the limelight while still at the top of your game is a sign of incredible self-assurance. With his last show before retiring, Dries Van Noten presented a Spring/Summer 2025 collection for his eponymous label that confidently looked back on his nearly 40-year-old career.

References to the brand’s history were ever-present. The silver leaf catwalk riffed on a similar set design from the Fall 2006 show. A line-up of Van Noten’s favourite models made an appearance during the farewell – from Alain Gossuin opening the show in an elongated double-breasted coat worn with furry sandals to Malgosia Bela and Karen Elson, both clad in boxy tailoring looks. All of the designer’s staples were weaved throughout the offering, showing the timeless appeal of Van Noten’s vocabulary. His signature mix of masculine and feminine, as well as clashes of colours and textures, manifested itself in looks that juxtaposed chiffon garments in salmon pink and baby blue with sharp suiting.

It wouldn’t be a Dries collection without the expression of his adoration for flowers in the shape of striking prints, this time in muted greys, pale greens and dusty pinks. The show closed with the designer’s other big love – metallics. Shimmering voluminous tops, shorts and jackets were paired with classic pieces in grey, black and khaki. The very last look revealed a peek of the glistening trousers under a long black coat reminiscent of the one showcased at the very beginning.

As he was taking his final bow to David Bowie’s Sound & Vision,  Van Noten seemed to have a sense of calm fulfilment in his smile.  Now he can focus on his other passion–gardening–knowing that he’s left his mark on fashion forever.

Words by Martin Onufrowicz

LOEWE SS25

Celebrating the first collection of his decade-long tenure at Loewe, Jonathan Anderson presented (in)arguably one of the season's best propositions.

Anderson’s usual modus operandi, where an artist collaboration is used as a creative springboard for a complex narrative, was slightly tweaked for Spring/Summer 2025. As a birthday treat, the designer allowed us to peek into his seemingly endless well of inspiration. The venue was filled with the designer’s biggest influences, from Peter Hujar’s photography to Charles Rennie Mackintosh’s chairs. And, of course, the cheeky inclusion of Susan Sontag’s Against Interpretation didn’t go unnoticed.

As far as the collection goes, Anderson perfectly encapsulated his philosophy for the menswear line at Loewe: a heavy emphasis on craft complemented by surreal yet elegant sexuality. Cropped shirts and polos were intertwined with pants through a belt that looped around the hip, leaving a seemingly magical empty space at the waist, revealing the model’s body. Anderson works the body like a sculptor, showing an intellectual sensuality. Through his clothing, the human form is clay—he modulates it at will. Oversized pants are gathered to one side, creating exaggerated pleats on one leg only.

Further surreal explorations are made in a trouser and polo looks. The latter’s collar melted through the former’s waist, once again revealing the bare body underneath. Jaw-dropping vests are continued proof of Loewe’s savoir-faire. Appearing in multi-chrome, gold, and silver options, the carefully linked vests shone peculiarly under the filtered sunlight that filled the venue.

The collection reassures us of Jonathan Anderson’s status. With a gift for creating viral moments (which just in the past few weeks include a steamy “got milk?”-like campaign and a tomato clutch) and undeniable design ability, Anderson’s climax is evergreen.

Words by Pedro Vasconcelos

DIOR MEN SS25

For his 60th collection for Dior in six years, Kim Jones decided to explore one of his obsessions. Instead of seeking inspiration from a historical figure or a familiar connection, the designer simply looked up at his bookshelves. Hylton Nel’s pottery fills the shelves of Jones’ country house, and this season, it filled his runway. Blown-up versions of Nel’s pieces punctuated the show space. If the giant sculptures weren’t enough to convey the collection’s starting points, the first model made it abundantly clear. A mandarin collar two-piece set was accessorised with a regular-sized ceramic piece in sage green.

Nel’s influence throughout the collection appeared in various forms. Animal motifs were printed, embroidered, and strategically placed in studs. Ceramic animals were used in pairs as buttons for sweet, knitted vests. The artist’s quirky animals appeared in pops of colour on classic knit sweaters. The ceramic inspiration escaped the garments and into the model’s heads, some had their hair polished perfectly in order to resemble vases.

Jones’ ventures into the realm of male couture were made in subtle ways, especially compared to his previous show. Beautifully placed crystal embroidery adorned the cuffs and collars of two stiff coats, first in taupe, then in beige.

Words by Pedro Vasconcelos

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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