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

FENDI FW25

Fendi turned 100! The quintessential Italian brand, rooted in Roman heritage, is now a century old, and its latest fashion show was a celebration of everything Fendi—Silvia Venturini’s creative vision and the core elements that have defined the brand’s identity since 1925.

The show was filled with emotional and familial references. Silvia Venturini’s grandchildren opened the show, which was staged in a setting that evoked the historic salons of the Fendi boutique and atelier in Rome, where the five sisters once worked and played. It honoured both the brand’s history and the five generations that have shaped it.

The cohesive thread that unified the show was faux fur. Renowned for its mastery of this material since its inception, the brand seized the occasion to showcase it through coats, stoles for men, and vests. The show opened with a striking faux mink coat, followed by feminine silhouettes that honoured the natural curves of women’s bodies. Leather appeared in structured skirts, boots, and suits, creating an intriguing interplay of textures on the runway, from rigid to soft.

Outerwear played a key visual role in the looks, adding both volume and drama. From oversized glamorous coats reminiscent of old Hollywood allure to tailored, modern designs with a more classic vision, the collection balanced elegance with innovation. The show blended past and future, reimagining the brand’s signature elements with a contemporary approach. Baguettes, Peekaboos, and Spy Bags were revisited with a modern twist while preserving their timeless appeal.

An earthy colour palette—ranging from khaki to beige, terracotta, and brown—created understated silhouettes. Pieces adorned with golden embellishments and oversized collars exuded a lavish feel, while Fendi doll accessories added a playful touch. Femininity was expressed through fluid silhouettes that moved gracefully, while menswear-inspired pieces were reinterpreted with sensuality. Flared midi skirts and dresses brought a flirty touch, and lace evoked intimacy and delicacy.

Amid the playfulness of the women’s wardrobe, men’s looks embraced a smart-chic silhouette, incorporating feminine codes to redefine and modernize classic menswear. Oversized caban coats created a strong look with an emphasis on the shoulders, while captivating visual motifs and pastel colours offered a contemporary take on masculine attire. Rooted in womenswear elegance but with menswear wearability, their wardrobe felt avant-garde and fresh, creative yet timeless.

Words by Carolina Benjumea

N°21 FW25

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

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

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

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

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

Words by Carolina Benjumea

GUCCI FW25

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

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

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

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

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

Words by Pedro Vasconcelos

COMME DE GARÇONS HOMME PLUS FW25

In fashion, a message isn’t hard to communicate. The true difficulty comes in expressing and enacting emotion—a skill reserved for the greats. Of course, Rei Kawakubo has no difficulty in this task. For decades, the designer has been weaponizing her intellectual means for emotional ends. For Comme des Garçons Homme Plus Fall/Winter 2025, she speaks directly to the overwhelming hopelessness of war.

From the perspective of a group of young soldiers, Kawakubo paints a clear picture: oversized sleeves swallowing models’ knuckles, atrophied combat boots with upturned toes, and binding pinstripe suits—the anti-war statement was loud and clear. The show’s narrator, the Nina Simone soundtrack, helped create a narrow atmosphere, juxtaposed by billowing balloon pants and tall, adorned helmets. As unwilling soldiers walked by, tears swelled in the audience’s eyes.

If the collection starts sombre, staying true to its original point of reference, it eventually leans more into youthful fantasy. Colour-blocked military coats resemble those of toys. Nutcracker-like joy contrasts heavily with the models’ expressions as they drag their distorted feet, stumbling into each other on the claustrophobic catwalk. Throughout the season, many designers have aimed to relate to the current political climate—one that grows more dystopian by the day—but Kawakubo is in a league of her own. She does what great artists do: she makes her audience empathetic.

Words by Pedro Vasconcelos

CHANEL HAUTE COUTURE SS25

Chanel is easy to identify but hard to explain. And yet, the brand’s studio does it beautifully in the Haute Couture Spring/Summer 2025 collection. It was a classically Chanel offering—staged in a monumental CC metal structure in the middle of the Grand Palais, of course!

The tweed jacket, the canon reinvented, is reimagined in youthful ways. With rounded hems or leg-of-mutton sleeves, satin linings, or adorned with bows—the additions to the silhouette were never heavy or bulky but instead light-hearted. It was Chanel at its softest. Unlike most other collections today, where the cultural current is considered literally, here we see a different, yet equally interesting, strategy. The approach was Rococo-like. Yes, the world is on fire, but why should Chanel be the place where that is reflected? Instead, the studio proposes a more fitting approach. This is Haute Couture— where beauty lives, the kind we can find solace in.

And beautiful it was. Iridescent hand-painted rainbows were splattered on jackets, satin opera coats were layered over minis, embroidered capelets sat atop matching dresses, tied with a velvet bow—even at its most ornate, lightness was commanding. The final look, a high-low wedding dress, even if voluminous, felt playful, capped with an embroidered light jacket.

The studio did what a studio does best: it held down the fort, creating a collection that reads as quintessentially Chanel yet refreshingly modern. There’s no need to reinvent the wheel—its creative leaders over 115 years of history have done it time and time again. And hopefully, so will Matthieu Blazy come next season. For now, resting on the shoulders of giants is more than enough.

Words by Pedro Vasconcelos

SAINT LAURENT FW25

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

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

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

Words by Pedro Vasconcelos

KENZO FW25

Love was in the air for Fall/Winter 2025. No, not in its traditional cupid-running-around sense, but in its platonic iteration. All over town, designers seemed trigger-happy when it came to collaborating. Fresh off his partnership with Pharrell Williams for Louis Vuitton, Nigo revealed Kenzo’s latest collection with another longtime creative partner, Futura. The Japanese designer teamed up with the American graffiti titan for a colourful and joyous collection. There was no mistaking the pieces the duo worked on: the Kenzo flower appeared paint-sprayed in Futura’s signature style, the atom logo was scribbled on workwear-inspired sets, and there were reimagined interpretations of Kenzo’s iconic flower throughout.

Nigo’s continued exploration of traditional Japanese wear was evident in kimono-like silhouettes and fully patterned satin sets layered over white shirts. The designer’s tenure at Kenzo has been dedicated to exploring the love affair between Paris and Tokyo, represented here through Mount Fuji prints and pachinko-parlour-machine-inspired knitwear. While the tension between these two cities has become something of an expectation at Kenzo, Fall/Winter 2025 introduced New York into the mix—an obvious nod to Futura’s presence. Beyond the graffiti-inspired pieces, campy accessories in the shape of bouquet wraps, beer bottle holders, and shopping bags were featured, all inspired by what Nigo observed people carrying around the city in the ’90s.

In a week defined by reflections on the state of the world, Kenzo felt refreshing, alluding to a past that few can relate to but many long for. Pops of colour in lapels and gloves felt heartwarming—just what we needed in the rain.

Words by Pedro Vasconcelos

WILLY CHAVARRIA FW25

Few things excite us as much as Willy Chavarria—and we’re not just talking about the Willy boys, the series of hunks who serve as his muses. So when it was announced that the designer would show his Fall/Winter 2025 collection in Paris instead of his home turf, New York, patience was hard to maintain. When the day finally arrived and our expectations were sky-high, Chavarria still managed to exceed them.

Set in the American Cathedral in Paris, the designer took Paris to church. Named Tarantula—an allusion to the way minority communities are vilified for their reactions—the collection leaned into religious themes. The first models walked out with rosaries in hand. Chavarria’s signature experiments with workwear and tailoring continued, with a stronger emphasis on the latter. Oversized suits were standouts, as were their tighter fits—always featuring exaggerated shirt collars popping out of the jackets, of course.

But if the show started on a holy note, it soon inched toward something a lot more playful. The devil was literally spelled out in a red set. The final sinful nail in the coffin came toward the end of the collection when the lights turned red, unveiling the designer’s latest collaboration with Adidas. Worn by the Willy boys, the newest iteration of this ongoing project embodied the sin of lust.

Spirituality wasn’t merely a set piece or prop—it’s woven into Chavarria’s DNA. When Chavarria came out for his final bow, his head was lowered for a deeper reason. Bishop Reverend Mariann Budde’s prayer reverberated through the Revival Gothic building. Originally delivered just two days prior during Donald Trump’s inauguration sermon, the message was one of acceptance as a form of defiance in times of hardship. Chavarria is evolving, but his mission remains unchanged.

Words by Pedro Vasconcelos

LANVIN FW25

In his runway debut, Peter Copping returned to the DNA of Lanvin with a collection honouring the classic elegance of the brand. The designer introduced a feminine rendition of menswear with sophisticated and timeless looks, inspired by feminine constructions.

Lanvin is the oldest couture house still in operation, and this collection explored the roots that made Lanvin a household name in the industry, as well as Jeanne Lanvin’s legacy. Copping’s background in womenswear allowed him to use feminine codes and adapt them into a men’s wardrobe, portraying delicacy in the garments and intimacy between the wearer and the clothes.

With clean silhouettes and flawless tailoring, the collection was a blend of understated luxury and modernity. The fabrics, motifs, and embroideries gave a sumptuous feeling and created a collection rich with artistic flair, while showcasing dynamism and high energy in classic designs. Deep golden tones and sequin fabrics imprinted the overall offering with a lavish effect.

The impeccable craftsmanship was proof of the brand’s attention to detail and technical prowess. Structured coats and trousers flawlessly fit the models, while dresses with movement respected the natural shapes of the body. Showcasing Lanvin’s couture legacy and mastery in construction, the show closed with dramatic and voluminous gowns. The black velvet emphasized timeless sophistication, while the gold dress with metallic texture showcased an opulent aesthetic.

With Copping, Lanvin is successfully entering a new era where design and technical innovation meet tradition and craftsmanship. With this collection, he demonstrated his ability to turn classic pieces into contemporary, artistic, and luxurious creations—quintessential values to Lanvin.

Words by Carolina Benjumea

JACQUEMUS SS25

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

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

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

Words by Martin Onufrowicz

DIOR HOMME FW25

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

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

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

Words by Pedro Vasconcelos

LGN LOUIS GABRIEL NOUCHI FW25

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

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

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

Words by Pedro Vasconcelos

DRIES VAN NOTEN FW25

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

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

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

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

Words by Pedro Vasconcelos

EGONLAB FW25

A brand responding to the political climate isn’t uncommon—it’s expected. The need to morally connect with their audience is becoming increasingly prevalent. However, what Egonlab presented for their Fall/Winter 2025 show doesn’t feel like a business move but rather a clever, whimsical metaphor for a dark reality. Appropriately named S4LEM, the collection, created by Florentin Glémarec and Kévin Nompeix, is an enchanting statement. Drawing a parallel between the current witch hunt of queer people happening globally—the show coincided with Donald Trump’s inauguration ceremony—and the Salem witch trials of 1692, the creative duo delivered a collection that was as impactful as it was well-executed.

The references emerged in sophisticated ways—there was no overuse of literal witch hats. Instead, voluminous, ragged collars and cuffs on skintight cardigans struck a balance between flamboyance and goth. The rest of the collection existed between those two poles. At times, it leaned toward one edge—silk scarf long-sleeve tops felt particularly queer-coded. At others, it veered toward the sombre—long black coats and full black leather ensembles conveyed a darker tone.

Despite its strong thematic presence, the collection never felt overwhelming. Egonlab’s signature elements were still prominent: nipped-in waists, bold shoulders, and manipulated denim. Interwoven throughout the lineup, the creative duo also introduced pieces from their capsule collection with Zadig & Voltaire, most notably strappy leather bags that added an exciting touch.

Words by Pedro Vasconcelos

ACNE STUDIOS FW25

There’s something so distinct about Acne Studios’ design. The essence of youth is ever-present—not in a naive, romantic sense, but in its characteristic soft edge. It’s not surprising, then, that when looking for inspiration for the brand’s Fall/Winter 2025 menswear collection, Jonny Johansson turned to what young men are doing online. He searched, and he certainly found it—it being looksmaxxing. The trend involves young men going to the gym, maintaining their skincare routines, and dressing well for the sake of looking good. Essentially, it’s metrosexuality repackaged. The pursuit of looking better is represented in different ways throughout the collection. Shorts directly correlate to the ever-necessary, never-skipped leg day.

Elsewhere, skin-tight, cropped, and low-neckline tank tops feel equally youthful. But it’s not just skimpy athleisure. More traditional menswear looks include a two-piece checked suit, though the idea of formality was subverted in quintessentially Acne-coded trompe l’oeil long-sleeve tops that emulated a suit and tie. Accessories, footwear, and denim are always standouts for the brand, and this collection was no different—the printed jeans were a highlight.

Words by Pedro Vasconcelos

AMI FW25

Alexandre Mattiussi does genderless better than anyone else. His rendition of neutral garments is often rooted in menswear but with the elegance of womenswear. Through his polished tailoring, he achieves a perfect balance between the strong masculine codes and the delicacy of feminine silhouettes.

In an industrial setting, with a saxophonist providing the musical background, the brand created a refined atmosphere for what would be a minimalistic and sophisticated wardrobe. The collection portrayed a smart-chic style, characterized by simple cuts and sleek outerwear. Loose and oversized silhouettes in a neutral colour palette were present throughout the show, creating versatile and relaxed looks.

Striking coats in structured cuts were central to the collection, providing each look with attitude and opulence. The high-quality materials turned this proposition into a luxurious parade. As one of the main exponents of quiet luxury, AMI delivered a flawlessly crafted collection, captivating the eyes of the viewers.

Perhaps one of the key pieces was the maxi skirts styled with boots, which represented the Parisian touch when it comes to styling garments. The movement of these pieces gave the wearer a feminine feel.

AMI’s collection was the epitome of urban elegance—a wardrobe where garments merge with the city through their effortless nature, bringing a sense of freedom to the person who wears them while creating a sleek and sophisticated silhouette.

Words by Carolina Benjumea

LEMAIRE FW25

Oh, to live in a Lemaire world. As proven once again with yesterday’s FW25 show, Christophe Lemaire and Sarah Linh-Tran are at the very top when it comes to creating an intriguing universe that you desperately want to be a part of.

Lemaire is synonymous with elegance – we know that. But with their latest proposition, the sophistication was paired with a thrilling sense of grit. Black leather made an appearance throughout the collection, from roomy jackets and bandanas to trousers with matching boots (worn under a voluminous wool coat). A stand-out menswear look featured a suede grey blazer paired with a shirt and wide jeans in the same hue. The signature restrained palette of Lemaire (black, navy, chocolate brown, beige) was broken up with energetic colour accents – from a cobalt blue shirt worn with dark navy outerwear to a head-to-toe womenswear look in fiery red.

The accessories hinted at a humorous side of the design duo. Lemaire’s popular statement necklaces were worn throughout, featuring pendants in the shapes of harmonicas, pocket knives or castanets. The simultaneously oversized and delicate feathery earrings swayed with the model’s walk, while a bag embellished with a blue eye in metal made the audience members feel seen in more ways than one.

Words by Martin Onufrowicz

PAUL SMITH FW25

Paul Smith has always mastered the art of infusing creativity into an otherwise classic wardrobe. His choice of colours, textures, and prints creates a fun and youthful approach to timeless pieces. 

For this season, the brand introduced an offering inspired by the stylish photographers of the 20th century, blending preppy aesthetics with a touch of underground subcultures. Staying true to its DNA, traditional British tailoring merged with playful motifs, creating a synergy of styles that exudes sophistication and luxury.

Paul Smith understands better than anyone how to blend eclecticism with craftsmanship. His designs strike a balance between wearability, individuality, and creativity. The multicolour stripe motif appeared on sweaters, while prints adapted from photographs taken by Paul’s father featured prominently throughout the collection. A ‘Field Flower’ motif adorned blue and orange shirts, derived from a photograph of wild daisies, showcasing the artistic drive behind his brand and evoking a vintage aesthetic.

He dresses a man who is unafraid to experiment with ambitious hues and motifs, which play an important role in revealing a softer side to the wearer. The looks incorporate an interesting twist with eye-catching elements: vibrant orange cardigans, corduroy ensembles for added texture, and unexpected proportions in jackets and trousers.

Words by Carolina Benjumea

GIORGIO ARMANI FW25

It’s always a joy to see a Giorgio Armani collection. Perhaps it’s the reliable sensibility of the clothes, maybe it’s the historic value of the brand or it might just be the full-bodied dopamine rush we get when we see Mr. Armani at the end of the show. 

As the Fall/Winter 2025 show started, the looks reflected what we come to Armani for: solidly stylish pieces with an Italian edge. A series of cropped grey jackets appeared in different materials and sizes—some in heavy wool, others in buttery leather.

We can’t help but mention the exceptional casting. Leave it to Mr. Armani to understand the appeal of a hunk—there were no twinks in sight.

Mr. Armani’s regular visit to the slopes was signalled by a change in colour—not only of the clothes but of the set itself. Suddenly, the neutral palette, dominated by grey and black, turned ultraviolet. Lavender-tinted lights emanating from the floor perfectly reflected the glossy panels of the skiwear.

When the lights returned to normal, neutrality reclaimed the palette, this time accented by sections of green, red, and blue that complemented light beiges. That is until the Twilight filter made its return. Couples that looked as though they had stepped out of a Stephenie Meyer adaptation of Nosferatu—rest assured, this is a compliment— somberly closed the runway.

Words by Pedro Vasconcelos

TOD'S FW25

What if we said the Tod’s Fall/Winter 2025 collection was all we needed in our closets for the rest of our lives? In a collection honed in on the classics of Italian fashion Matteo Tamburini, marking his first year at the helm of the brand, presented an offering that was not just what we expect Tod’s to be, but what we want it to be. His vision extended beyond fashion to encompass Italian design, including architecture, interior decor, and furniture.

Set in a modernist salon designed by Piero Portaluppi, which revealed some of its inspirations, the collection’s 22 looks intertwined heavy knits with long trench coats (unfortunately, not buttoned to the top!). Materiality—the highlight of any Tod’s show—was stunning: leather shined like satin and textured wool seemed tangible even through the screen.

Yes, the shoes were great—that’s what Tod’s does best—but the bags this season were outstanding. One in particular, an oversized bowling bag made of velvety beige suede, was mouthwatering, to say the least—especially when paired with the most perfect pair of jeans of the season.

Words by Pedro Vasconcelos

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