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

MAGLIANO FW25

For its Fall-Winter ’25 menswear collection, Magliano introduced a minimal approach to clothing, where the centre of it was the flawless constructions and the person who wears them. Known for its high-quality fabrics and tailoring, the brand showcased its expertise in crafting garments faithful to the body, with creativity in mind.

With an intimate feeling throughout the show, Magliano gave us Italian heritage with a twist. The main character of the presentation was the tailored suit and its different iterations. From classic grey and corporate to playful and laid-back, the essence of craftsmanship was visible throughout each look.

Jackets in cotton ribbed fabric, mohair trousers, padded crepe-de-chine outerwear, and shiny knitwear adorned with Swarovski crystals were given a sensual touch. T-shirts knotted around jackets and oversized suits gave a powerful energy to the wearer, creating an interesting conversation between the body and the garment, as well as the contrast between classic and modern. The looks were deconstructed with a focus on textures and layering, creating a wardrobe that is contemporary, comfortable, and easy to pair with other garments. The bags wearing underwear, signed Medea, added a playful element to the looks.

A dark setting set the mood for the overall collection. Hues of greys, military greens, navy blues, and some purples created a mysterious and thoughtful ambience. The diversity of the casting emphasised an interesting narrative between the clothing and the models, as their different looks mixed with the eclecticism of the clothing. The collection had a masculine feeling with deconstructed elements that hint at a soft and fluid vision of the modern man. 

Words by Carolina Benjumea

PRADA FW25

Fur is so back, baby. Well, at least if you listen to Mrs. Prada and Raf Simons—which we do. For men’s Fall/Winter 2025, the duo presented a collection that finally lets us stop pretending and admit that fur—faux, obviously—is hot. Smartly cut outerwear was adorned with roughly cut shearling pelts. The idea of primitivity, practically spelled out in these pieces, was central to understanding the show. Fur was further explored closer to the body, layered under light jackets.

Accompanying the furs were knits adorned with metal symbols, purposeful in their purposelessness—meant to emulate empty amulets.

Duality, that ever-essential tension in any given Prada collection, was front and centre. Carelessly placed pelts were strutted on by models wearing ‘70s floral cowboy boots. The untamed/domestic dichotomy shone as sharply cut pyjama sets—the poster children for homely comfort—interrupted the omnipresent furry chic.

The idea carried over to the set—always an unexpected treat at any Prada show. This season, the loosely screwed scaffolding (some attendees complained about its fragile appearance, but we have full trust in Mrs. Prada) was floored with fluffy printed rugs.

It’s easy to overthink a Prada collection. You see the juxtaposition of fur pieces with 2015-ish silhouettes, the mix of colourful bowling bags with shrunken floral T-shirts, and the intellectual intent practically leaps out at you. Yet backstage, Simons steers us away from overanalyzing. “We come to a point where we say, ‘That feels right.’ We try not to dictate something or make a theory.”

So, let’s stop trying—interpretations are futile. It’s good, it’s Prada, that’s all it matters.

Words by Pedro Vasconcelos

EMPORIO ARMANI FW25

Emporio Armani’s opulence has always shone through its vocabulary. However, this season’s collection has truly shown the power of luxurious fabrics, lavish prints, and tailored pieces. Through a wardrobe for a sophisticated man, the brand seeks to create designs that are timeless but with a youthful feeling.

The show opened with outdoor clothing intended for extreme cold weather, such as puffer jackets, oversized scarves, cargo trousers, and XXL backpacks in striking colours. Then, a parade of sumptuous, elaborate, and flawlessly crafted looks made their way down the runway.

It’s not every day that we get to see leopard print at an Emporio Armani show, but this season, the brand gave it a sumptuous touch through jackets, shirts and shoes. The Armani man knows how to dress, and he does so effortlessly and tastefully.

He is daring and informed when it comes to mixing and matching fabrics, colours and textures. From velvet coats and trousers with metallic hues to graphic prints, leather, and silk, he is not afraid to experiment. His most classic side is exposed through tailored pinstripe suits and long structured coats. To go out, he likes to wear metallic-threaded pullovers and fur coats. And when he feels like flaunting, he wears tailoring with lavish embroideries. 

The brand really understood the needs of modern men and their relationship to clothing. By providing a contemporary view of elegance through the wardrobe, they can fully embrace their masculinity with grace. Armani’s take on refinement is refreshing and appealing to a younger generation who sees clothing as a medium for experimentation and expression while keeping the codes of timeless taste.

Words by Carolina Benjumea

JORDANLUCA FW25

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

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

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

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

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

Words by Carolina Benjumea

CELINE SS25

Hedi Slimane is a creative director through and through. His collections are not merely clothes; they are gateways into a world of his construction. For Spring/Summer 2025, Slimane transports us to the 1960s—a familiar era for him. While his Fall/Winter 2024 collection explored this decade as Celine's golden age, this season, Slimane takes a different route, delving into the youth culture of the time. Drawing inspiration from Françoise Sagan’s La Chamade and icons like Juliette Gréco, he presents a collection that doesn’t just create characters, it forges a narrative.

Despite unveiling the collection at the height of Paris Fashion Week, Slimane marches to the beat of his own drum—this time to the tune of The Velvet Underground and Nico’s Femme Fatale. Models gracefully paraded through the halls of the Château de Compiègne, a royal residence northeast of Paris, as the film, aptly titled Un Été Français, unfolded. As is customary, the film opens with a coveted Celine-branded item—in this case, a typewriter—that instantly feels essential.

Soon after, models dressed in checked and pleated school uniforms, hand-embroidered and woven from summer cashmere, strolled through the opulent palace. Baby doll silhouettes added a sweet yet nostalgic touch to the collection, whether in black-and-white plaid or fully embellished designs. A standout moment came with a vinyl plaid set featuring a round collar and shorter skirt—a transcendent piece. Equally impressive was the couture selection, which comprised 20 of the 49 looks, with carefully placed palettes and shimmering ornamental flowers adorning charming mini dresses.

Central to many of the looks was the latest addition to Celine’s iconic bag lineup: Joséphine. Reflecting the spirit of the collection, this bag features a curved, erect handle that instantly transports us to the Belle Époque of fashion—the very essence of Slimane’s vision this season.

From the meticulous stitching on each button to the historically accurate buckled Mary Janes, Slimane’s perfectionist tendencies were on full display. Beauty, too, played a pivotal role in his collection, with almost every model donning Gréco-inspired eyeliner and fringes. The attention to detail extended beyond the runway, as a signature perfume created specifically for this collection further amplified the atmosphere of the show.

The collection’s debut came just days before Slimane announced his departure, soon followed by the appointment of his successor, Michael Rider. After seven prosperous years, Slimane leaves Celine transformed. With the introduction of menswear, a beauty line, and a fully-fledged couture line, the Celine he departs is far different from the one he inherited. But all good things must come to an end. Slimane will undoubtedly find new avenues for his genius, and Celine, under Rider’s leadership, is poised for further growth. Having been a design director during Phoebe Philo’s time at the house—still regarded as a golden age—Rider’s appointment signals a new and exciting chapter. The king is dead, long live the king.

Words by Pedro Vasconcelos

LOUIS VUITTON SS25

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

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

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

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

Words by Martin Onufrowicz

LACOSTE SS25

The ball is in Lacoste’s court this season, as Pelagia Kolotouros and her design team at the iconic 90-year-old French sportswear brand push the boundaries of athletic wear. Titled Tennis to the Seaside, the collection draws inspiration from the wardrobe of René Lacoste, reflecting his 1920s style that seamlessly transitioned from intense tennis matches to leisurely seaside cruises, always with a stylish edge. Polos and neoprene blazers are tucked into high-waisted shorts, while retro bathing suits and jelly sandals make a comeback—perfect for scaling rocks or harvesting oysters for lunch.

Lacoste serves up a striking range of beige-to-yellow looks, each tailored to different occasions. This season, “doubles” are the highlight, as matching menswear and womenswear sets add a playful element to the show. Notable pieces include tennis racket sweater vests paired with a skirt-over-pants combination, an elevated nod to Mikhail Youzhny's memorable head-hitting racket moment. The brand’s signature green hue also returns, flowing into deep chocolate tones that exude a refined elegance while still paying homage to Lacoste’s sporty heritage.

The backdrop, a fountain-like sculpture by British artist Susie MacMurray, made from actual tennis nets, sets the tone for the collection. The tennis net theme is woven throughout: from sheer, netted layering pieces adorned with charms to crocheted dresses featuring fierce crocodiles snapping at the models' necks. Accessories seamlessly echo the offering’s theme, with loose tennis net-adorned bags available in a variety of shapes, colours and sizes. Meanwhile, mini tennis skirt flaps bring a bold and playful twist to the classic baguette handbag.

Lacoste aces the season with its knack for reinvention. Tracksuits are looser, dresses sexier with strategic cutouts, and prints bolder and more dynamic. The brand also revisits Robert George’s iconic prints, reimagining the famous Lacoste logo by enlarging and rotating it across shirts, dresses, and trench coats. Just when we thought the sportswear trend had peaked, Lacoste elevates it once again, expanding into the lifestyle realm and broadening its appeal to a modern audience.

Words by Gabrielle Valda Colas

MIU MIU SS25

For the past few seasons, Miu Miu has been reigning supreme as one of the most desirable brands in today’s fashion. With her show for Spring/Summer 2025, Miuccia Prada took the brand’s signature look and gave it a 1970s twist.

The collection opened with a couple of silhouettes redefining lingerie garments into daywear. Light cotton dresses and skirts in see-through white were paired with leg warmers and peep-toe shoes. These were followed by a round of retro sporty propositions – one of Prada’s favourite influences. Pleated skirts sat below the knee, and matched with cropped anoraks or roomy windbreakers in muted shades of grey, navy and burgundy.

Then, it was time for a party. From cut-out swimsuits worn with shiny vinyl skirts to coats, polos and skirts in psychedelic prints, Prada fully leaned into the 1970s aesthetic. The brand’s signature kookiness was omnipresent. Shirts worn with v-neck sweaters were twisted into tight tube tops with tied sleeves dangling to the side. Bigger than big plastic sunglasses in yellow and purple referenced the signature bug eye shapes from the era, while metal belts in silver and gold played the role of jewellery, stacked on top of coats and skirts.

Words by Martin Onufrowicz

CHANEL SS25

During a week marked by relentless rain, even the sun seemed to celebrate Chanel’s return to the Grand Palais. After a four-year hiatus, during which the maison funded the venue’s restoration to ensure future shows, Chanel made its grand homecoming. And for many of us, it truly felt like coming home. A sense of ease washed over the guests as the uncharacteristically bright sunlight streamed through the glass ceiling. In these unpredictable times, as we all patiently await the announcement of the next creative director, Chanel’s design team delivered a collection that reaffirmed the house’s legacy is more than capable of sustaining its creative spirit.

Karl Lagerfeld’s presence lingered in the air—perhaps due to the iconic setting, though more likely because of the giant birdcage at the centre of the runway. The theatricality, unique to the Grand Palais, was palpable. The collection opened with voluminous collars on classic and not-so-classic tweed looks, as a variation of sets introduced shorts as a complement to elegant jackets. Chanel’s design team drew inspiration from the Art Deco steel architecture to pay homage to its beloved venue, incorporating these classic motifs into hand-knit details on contrasting tweed collars and traditional suits. One particular standout subtly reimagined the winning formula—a patterned shift dress blended seamlessly with a similarly patterned blouse, both, of course, in tweed.

But it wasn’t just the subtle references hidden within the sweet tweed ensembles that honoured Chanel’s legacy. The birdcage towering over the runway was a direct nod to the iconic 1991 advertisement featuring Vanessa Paradis, directed by Jean-Paul Goude. Like Paradis before her, a new Chanel muse, Riley Keough, sang while swinging gracefully from side to side, her dress beautifully trailing behind her as she soared through the air.

Despite the unconventional movement—after all, there aren’t many who casually swing from a massive birdcage—it was mesmerising to watch the gown flow so effortlessly. Similar dark, flowing pieces appeared on the runway as the show neared its conclusion, just before the final looks, which, perhaps nodding to the usual occupants of cages when models aren't around, were adorned with light feathers.

Words by Pedro Vasconcelos

BALENCIAGA SS25

Balenciaga serves up a visual feast this season in an evolving "get-ready-with-me" fashion, offering them to the audience on a silver platter.

The show opens with underwear boldly displayed over trompe l'oeil, skin-coloured turtlenecks and pantyhose, paired with matching lingerie sets and garters tucked into pointed pumps. As the looks progress, layers are added: a V-neck sweater, a bomber jacket, and an oversized fur coat bring a sense of coverage and ease. Modesty gradually emerges with vintage-inspired silk dresses, though these aren't your typical mid-length gowns. They are slashed open, their backs exposed and bound together with oversized ribbons, paying homage to corsetry. The ribbon details spill over into denim ensembles, easing the transition into the 2005-infused section of the collection. Super-low-rise jeans and trousers reveal the midriff as a deliberate statement, an additional layer of styling. Collared polos, in striped patterns and classic black and red, evoke nostalgia for the days of endlessly watching Laguna Beach. Gvasalia elevates the collar into a standout element, with Medici-inspired stand collars constructed from rigid denim, reminiscent of playing dress-up on Stardoll, where we'd drag and drop fashion pieces onto our virtual mannequins. True to form, Balenciaga’s styling delivers a pointed message, this time in chaotic, layered "airport looks" or outfits that resemble a hasty exit from a situationship.

In terms of accessories, the phone replaces the handbag, hanging from a lanyard with "Balenciaga" displayed on its black mirrored screen. Belt buckles are exaggerated and back in full force, alongside black caps and 360 visors that obscure the models' identities. The signature Balenciaga trainer makes its appearance again, this time less colossal but still commanding, now in a reflective high-top version with zippers.

References to Balenciaga’s archives are woven throughout the collection, particularly with the cropped spherical balloon jacket, reimagined in various forms—bombers, motorcycle jackets, trenches, and more. Coats are the multi-functional heroes of the runway, twisted, knotted, and transformed into dresses, emphasising the timeless versatility of good outerwear. A standout is the leather trench where the hem becomes a hood, a technique echoed in puffer and beige trench iterations. The final three looks feature the iconic Balenciaga exaggerated shoulders, with a sparkling houndstooth ensemble that steals the spotlight.

Words by Gabrielle Valda Colas

VALENTINO SS25

We’re so back, baby! After a two-year hiatus from the runway, Alessandro Michele makes his triumphant return. We got a glimpse of what his first collection might offer with the 171 looks released for Resort 2025, but this season felt like a joyous homecoming. In an era where "recession core" — drabby, restrained fashion reflective of financial caution — seems to dominate, it was exhilarating to witness the return of fashion's maximalist maestro. And maximalism is exactly what he delivered.

The collection drew heavily from Mr. Garavani’s time at the brand, with references dating back to the 1960s. Not that Michele needed to explicitly say it in the press room after as he did — the angular lapels on structured blazers and tiered chiffon dresses left little room for doubt. Grounded in the era's sensibilities, Michele crafted a collection that was unmistakably his own.

Yet, for those worried Michele would merely replicate his previous work, this collection felt refreshingly distinct. Yes, we saw the signature polka-dotted ruffle dresses and Margot Tenenbaum-esque fur coats, but something at its core was noticeably different. The camp extravagance of his Gucci era was tempered by a refined elegance. Gone were the loud colours and graphic prints. While there were obvious departures from his predecessor—colour-blocking gave way to pattern clashes, and heavy sequins were replaced by delicate embroidery—the collection still resonated as pure Valentino.

One dress paired a sheer top with rococo oversized buttons and a stiff skirt trimmed in fur. Another featured a satin black tunic with shimmering red embroidery at the chest, topped off by a large hat adorned with an even larger feather. The collection was a clear character study for the new Valentino woman. And with his debut couture collection slated for early next year, to say we’re excited for Michelle’s next steps at Valentino would be an understatement.

Words by Pedro Vasconcelos

ISABEL MARANT SS25

As we return to work under dreary skies, Isabel Marant remains in holiday mode. The brand presented a radiant collection set against a sunset awash in orange and yellow hues at the iconic Palais Royal. The show opened with camel fringes swaying to a bohemian soundtrack, perfectly complemented by the playful breeze, which seemed almost staged as it tousled the models' hair, fringes, and feathered skirts and coats. A butterfly moment arrives in the form of a T-shirt dress paired with gladiator sandals, followed by another iconic print—a tigery, tie-dye pattern that also served as the show’s invitation. 

Intricate knotting techniques adorned necklines, emphasising the craftsmanship at the heart of this season’s collection. Marant and her team highlighted their focus on artisanal skill, particularly in the embroidery, lacing and braiding details. On the feet: soft-soled moccasin boots in shades of beige, camel, and burgundy, tightly laced and adorned with tassels and gladiator sandals with bronze details offered a grounded touch to the looks. Flat shoes reigned supreme this season—a likely relief for both models and customers, because who really wants to wear four-inch heels on a beach in St. Tropez?

While the collection draws from bohemian and exotic influences, it resists being pinned to a single locale, creating an otherworldly cacophony of references. Trousers came in leather, camel, and suede—some cropped, others longer—all designed to mix and match seamlessly with any ensemble. A studded, tasselled skirt jangled its way down the runway, and playful zippers added a touch of irreverence, sometimes fastened, sometimes undone.

Who is the Isabel Marant woman? She’s a worldly traveller, embracing cultural ambiguity with an effortless style that blends bohemian flair and a modern edge. Geometric patterns and multicoloured embroidery adorned loose-fitting tunics, while fringes, daring necklines, and a boho-chic aesthetic took centre stage—an Isabel Marant signature, now reimagined with a fresh, comfortable twist.

The collection featured two standout knitted dresses, in black and silver, with carefully placed cutouts and mirrored ball ties, a nod to the Palais Royal fountains. Halter necklines and strong, structured shoulders turned heads, embodying the notion that shoulders, too, can be accessories. As the show transitioned into dreamy pink and purple hues, it culminated in a final celestial moment: sequined, translucent dresses that sparkled like stars emerging after sunset.

Words by Gabrielle Valda Colas

DURAN LANTINK SS25

In only a couple of seasons, Duran Lantink has conquered the industry with his striking take on fashion, which is not only based on innovative materials and creative constructions, but also includes social commentary on the world around us. This approach gives the brand a deep understanding of the needs of today’s industry.

For his Spring/Summer ‘25 collection, he envisioned a wardrobe for holidaying in Ibiza, inspired by his childhood memories. Each piece in the collection was made from upcycled materials, further solidifying his conscious approach.

Throughout the show, we see pieces that blur the line between practicality and artistry, resulting in a testament to Duran’s ability to place innovation at the forefront of his label, while still delivering wearable pieces. With a focus on light fabrics, visually strong prints, and dramatic shapes, the collection was a fusion of styles, enriching the brand’s aesthetic and creating its own visual language. 

Feminine silhouettes, like draped dresses in see-through fabrics, merge with sexy miniskirts and corporate tailored pants. On the other hand, big, dramatic shoulders resulted in exaggerated silhouettes and constructions. Floral print dresses with cut-outs on the sides and a voluminous ruffle at the bottom create a soft, wavy effect. Dresses adorned with what seems to be an inflatable swim tube add a playful touch to the overall look.

Words by Carolina Benjumea

MCQUEEN SS25

For his sophomore collection, Seán McGirr tightened his approach at McQueen. If last season—when the designer famously had only a few months to create a collection—offered an expansive interpretation of the brand’s biggest hits, Spring/Summer 2025 provides a more focused glimpse into his vision for the house. Rather than playing off several tropes, McGirr laser-focused on Lee McQueen’s tailoring prowess.

The S-bend became the central source of inspiration. One of the legendary designer’s iconic staples, McGirr reinterpreted it through a rolled lapel silhouette, which appeared in multiple impeccably tailored suits. The silhouettes—featuring powerfully angular shoulders and cinched waists—were undeniably mouthwatering. Other signature elements were reimagined, such as the bumster, whose extravagance was tempered by mesh panels, and material opulence reminiscent of Sarah Burton’s era at the brand, showcased in oversized fur coats and voluminous distressed skirts.

The show ended in a climactic moment that evoked the spirit of Lee McQueen’s original showmanship—Spring/Summer 1999 is forever etched in our memory. A true showpiece, crystalized threads contoured the model's body, the excess of which dangled from her arms and almost engulfed her head. Oh, to be consumed by crystal.

Words by Pedro Vasconcelos

CARVEN SS25

Carven’s characteristic minimalism comes with a sense of freedom and individuality, the same that imprints the clothes with a unique identity, creativity and self-expression. 

Revealed at the original house of Carven in the heart of Paris, this collection was inspired by the relationship between women and their wardrobes. Intimacy, camaraderie, but most of all, a deep understanding of women’s bodies and their needs are at the centre of this collection, where each piece is a testament to the brand’s construction prowess.

For this collection, Louise Trotter, the creative director, wanted to highlight the process of making garments as the foundation of the brand’s heritage. This is why the show took place at the mythical Rond Point des Champs-Élysées, the same place where Madame Carven started designing in 1945 and where all the collections are conceived to this day.

The collection was a parade of beautifully constructed pieces and sumptuous fabrics. Volume and fluidity were key visual elements, providing each garment with its own life and movement. Creating an amalgam of shapes that were both architectural and structural, the looks played with proportions while respecting the natural curves of women’s anatomy.

Elegant, timeless, and modern is the wardrobe imagined for the Carven woman—one where the subtle lines and simplicity of long coats and tailored pants merge with the intricate details of draped dresses, creating a synergy where design meets avant-garde technique. A monochromatic colour palette, represented by greys, whites, creams, and blacks, gives versatility to the pieces. Their fluidity and wearability help to blur the lines between day and night looks.

Words by Carolina Benjumea

LOEWE SS25

Online, in the infinite number of times the Loewe show has already been shared just hours after its runway debut, someone made a particularly pointed observation: “In a Loewe show, there are always about six ideas that would’ve been the best idea in someone else’s show.” Therein lies Jonathan Anderson’s success at Loewe—not just the sheer amount of creativity he exudes, but the harmony with which he pairs those ideas.

Despite the abundance of concepts, this season, Anderson aimed for reduction—an intention carried over from his namesake label earlier in the fashion month. This time, the idea was explored through silhouette work. With his signature absurdist take on fashion, Anderson freeze-frames fleeting moments with wired rigidity. A long leather coat flares open at the hem like the pages of a book. Khaki skirts remain mysteriously parallel to the floor. Looping hems add peculiar structure to otherwise flowy dresses as if they had been frozen mid-spin. The circular nature of these elements serves as a thematic throughline this season—even the show’s venue was a circle.

Unsurprisingly, Anderson is reflecting on the concept of cycles—this collection, after all, marks his 10th anniversary as creative director at Loewe. While we didn’t get a retrospective of his work—for that, you’ll have to visit the house’s exhibition, set to tour the world next year—the show was a clear representation of his vision for the brand. Watchful eyes were made to question everything in front of them. Unassuming T-shirts featuring famous artists appear simple at first, but on closer inspection, printed feathers reveal an almost comedic complexity. This is perhaps the best way to describe Anderson’s tenure at Loewe: serious design that’s never taken too seriously.

Words by Pedro Vasconcelos

RICK OWENS SS25

Attending a Rick Owens show is almost a spiritual experience, where all the senses are put to the test, stimulated by the richness of his creations and the depth of his message, and where you won’t depart the same way you entered. Rick Owens is to the industry what Sunday church is to Catholics: a mandatory appointment if you believe in it.

In a solemn ambience and against a mysterious background of white smoke, which has become a staple in his shows, an army of models in total black looks walked down the stairs of the Palais de Tokyo in groups. The models were members of Owenscorp, fashion students, or personal friends of the designer, resulting in an incredibly diverse casting.

The theatrical choreography was accompanied by gothic attire, and as the show progressed, the colour shades and pieces became lighter. Full black looks transitioned into greys and metallic shades, while structural pieces merged with deconstructed silhouettes and voluminous designs, creating an eclecticism characteristic of the brand.

Cut-out crop tops and bodycon dresses, along with tight floor-length skirts, conveyed a sense of edgy sensuality, while draped looks showcased Owens’ construction prowess. Leather cropped, disproportionate jackets served as radical pieces that unified the entire collection.

Signature codes of the house, such as dramatic shoulders and leather high platforms, were styled with robotic silhouettes and tunics in loose fabrics, sculpting looks that are as creative as they are subversive.

In typical Rick Owens fashion, the Hollywood collection was more than an aesthetic expression; it was a declaration of his roots and the common threads that tie him to his tribe—those closest to him, the weirdos and freaks.

Words by Carolina Benjumea 

MUGLER SS25

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

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

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

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

Words by Gabrielle Valda Colas

COURRÈGES SS25

Nicolas Di Felice has a unique ability. Not just to create sensually complex pieces or to revolutionize heritage brands—but to find depth in geometric shapes. But unlike the Suprematists before him, it’s not meaning he sees—it’s sensuality. There’s something undeniably appealing about the contrast between sharp edges and the organically curved body. There’s tension in that disparity. Felice’s sex appeal isn’t warm or human; it’s mathematical.

Yet, despite his well-established language, the young designer never forgets the brand he’s tethered to. Even as he revolutionizes what Courrèges means to a younger generation, the original Space Age flair is never far from sight in Di Felice’s vision. This season, that anchor took the shape of a cocoon—an extrapolation from a cape in the brand’s Fall/Winter 1962 collection.

His confidence has sharpened since last season when Felice collaborated with Jean Paul Gaultier on a couture collection. The show opened with an intellectual take on his inspiration: a black leather cocoon coat, its construction both ambitious and flawlessly executed. Later, a similarly voluminous hood returns in lighter jackets. Both pieces share a wonderfully structured stiffness, barely yielding as the models walk.

That was hardly the only gravity-defying piece in the collection. Last season’s invisible mesh tops, which placed angular rectangles in front of the body, have evolved—now, they’re smaller, just enough to cover the model’s chest.

Backstage, he speaks about his fixation on cycles, the central inspiration for his latest collection. But unlike in previous seasons, Di Felice goes beyond the usual circle. This time, he focuses on the Möbius strip, a mathematical marvel that can be achieved with a simple piece of paper—and, not coincidentally, the shape of the metal invitation. In this peculiar ribbon, there’s no beginning or end, no inside or outside, as the two merge. The concept is explored through pieces that present clever illusions, such as tank dresses that appear to be two separate garments but are actually one, held together by cleverly hidden snaps.

Words by Pedro Vasconcelos

ACNE STUDIOS SS25

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

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

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


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

Words by Gabrielle Valda Colas

ARchive

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