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

TOM FORD FW25

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

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

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

Words by Pedro Vasconcelos

COURRÈGES FW25

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

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

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

Words by Pedro Vasconcelos

DRIES VAN NOTEN FW25

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

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

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

Words by Pedro Vasconcelos

ACNE STUDIOS FW25

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

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

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

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

Words by Carolina Benjumea

GIORGIO ARMANI FW25

In an intimate salon setting, Giorgio Armani introduced his latest womenswear collection. Armani’s elegance is not just seen through the flawless construction of the clothing or the luxurious fabrics—it is an overall feeling that one gets every time we experience one of his shows. Very few designers achieve that level of class in a collection, and Armani does it every time.

Mr Armani masters the concept of delicacy, one that is rooted in the very essence of being a woman. His latest collection delivered looks that celebrated the art of femininity and the fluidity of women’s bodies. Through soft silhouettes and intricate embellishments, each look showcased the brand’s taste, attention to detail, and construction prowess.

It was a collection dominated by pants and masculine pieces, but softened with delicate textures, creating an interplay between strength and grace. Intricate embellishments lent each look a sense of opulence and craftsmanship. Ethereal dresses with draping, rich embroideries, metallic threading, and lace walked as if they were floating. Their movement was poetic, much like the interplay of light between the shimmering fabrics and the setting’s illumination. Velvet and tweed pieces transformed the overall aesthetic, creating a contrast between structure and dreamlike elegance.

The headbands nodded to the glamour of the 1920s and 1930s, while sheer fabrics were a sensual element introduced with refinement. The colour palette featured soft grays, dusty blues, warm golds, and silvery hues, evoking a starry night atmosphere and enhancing the ethereal allure of the looks. Loose silhouettes served as the common thread of the collection, alluding to an understated and effortless sophistication—one that doesn’t need much to stand out, one that comes from within.

Words by Carolina Benjumea

BALLY FW25

Bally is a brand that speaks our language – just recently, the Swiss luxury house released a Spring/Summer 2025 campaign created in collaboration with one of our favourite artists, Jack Pierson. Now, the brand showcased a collection for Fall/Winter 2025 that completely won us over – one of the best during this Milan Fashion Week.

In Simone Bellotti’s offering for the season, shiny black leather became one of the designer’s prime tools for executing his striking and elegant vision. Chunky belts peeked from under the ultra-tight boiled wool jumpers, cinched denim blazers and cropped chartreuse green jackets (worn with perfectly-cut wide trousers), while head-to-toe leather tailored silhouettes somehow managed to look simultaneously nostalgic and incredibly modern.

Another powerful statement was made by using fur trimmings in pink and green that sat at the dramatic openings of skirts and dresses. But Bellotti’s masterful approach to cut was best visible in the seemingly “simple” tailored looks in navy wool – from boxy cropped blazers to fitted jackets worn with tight beanies in the same hue.

Words by Martin Onufrowicz

TOD'S FW25

Upon entering the venue for the Tod’s Fall/Winter 2025 show, guests were greeted with a rather unique art installation. Dressed in a sprawling dress made out of leather scraps, supermodel Carla Bruni posed with an XXL needle and a thread. Conceptualised by artist Nelly Agassi, the show-stopping installation evoked the artisanal intelligence and the brand’s expertise in craftmanship – two focuses of their latest offering.

Nods to craft could be seen throughout the show, with hands being an accent highlighted throughout – from protective gloves in sumptuous olive green and chocolate brown leather to necklaces with an elegant hand pendant that decorated a variety of looks. Designer Matteo Tamburini further pushed the notion of showcasing the artisanal prowess of the brand’s atelier in total looks made of buttery leather or razor-sharp wool tailoring. Outerwear was another triumph. Bouclé jackets looked incredibly modern with their frayed hems, while the roomy fur coat with white squiggles created a breathtaking statement.

The Italian house is known for its luxurious accessories, and Tamburini presented a string of extremely desirable propositions for the season. Sunglasses were wrapped in leather and bags shined in a rainbow of luscious tones. As for the shoes, our eyes were caught by the skin-tight boots with chunky heels and driving shoes in embossed snakeskin – the brand’s classic item, revisited.

Words by Martin Onufrowicz

VERSACE FW25

Versace presented its Fall/Winter ’25 collection in a minimalist setting, allowing the brand’s visual language to take centre stage. The show was a blend of Versace signatures—sensual glamour and street-style references—all deeply ingrained in the house’s DNA. The overall collection subtly referenced Y2K, a period when a kitsch, maximalist, and sexy aesthetic dominated the market, and years deeply rooted in Versace’s essence. The dynamic collection also portrayed the image of a femme fatale, a figure synonymous with Gianni Versace’s vision from the very beginning.

Dresses reminiscent of duvets opened the show. Voluminous skirts with baroque prints created an intriguing interplay between structured and opulent fabrics that would follow. Visually strong motifs, signature elements of the brand, blended with all-black outfits, creating a striking contrast of styles. Golden accents added a touch of high luxury, while bedazzled pieces evoked a street-style aesthetic. Leather pieces, such as coats and pants, introduced an avant-garde vibe, while velvet appeared in body-hugging and voluminous dresses.

The brand’s codes were imprinted in both menswear and womenswear, nodding to a feminine vision of men as well as a masculinization of women’s wardrobes. Rhinestone-embellished low-rise denim jeans and jackets were worn by men, creating a bold take on masculinity. Pussy-bow shirts and blazers in pops of color displayed a feminine allure and a bourgeois aesthetic, contrasting with the overall feel of the show, which was rooted in the premise of Italian excess and personal expression.

Ruffles, far from being delicate, were given a punk aesthetic, while bustier tops and chainmail skirts explored sensuality and femininity. A series of three dresses with ample flared skirts in sumptuous velvet closed the show, showcasing the brand’s creative vision and construction prowess. Styled with rock-inspired leather gloves, the looks flawlessly embodied the overall essence of the collection, where edge and strength were expressed through clothing.

Words by Carolina Benjumea

PRADA FW25

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

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

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

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

Words by Pedro Vasconcelos

DIESEL FW25

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

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

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

Words by Pedro Vasconcelos

JIL SANDER FW25

Backstage at the Jil Sander Fall/Winter 2025 show, Luke and Lucie Meier were photographed after OTB Group chairman Renzo Rosso handed them a huge bouquet of flowers. It wasn’t that the image was odd—congratulating a designer after a successful show is expected, and this was certainly one. But it seemed to confirm the swirl of rumors suggesting the couple’s departure from the brand they had creatively led for the past eight years. And it did. Shortly after the show, it was announced that the duo would be leaving Jil Sander. In that way, the collection was, in a sense, a eulogy.

The show reflected not only where their journey began in 2017 but also where it ended. Soft, flowing femininity was cut by sharp androgyny. The opening looks—a sea of black, shiny fringe in the form of suits, dresses, and coats—felt almost uncharacteristically harsh. But as fluidity began to interject, the Jil Sander touch became apparent.

Further explorations of tailoring appeared in the form of kilts for both men and women. This androgyny has become inseparable from the Meiers' tenure at the brand—another element they embraced over time. Signs of their early femininity reemerged in column dresses adorned with feathers and a t-shirt gown overflowing with bows.

A fitting farewell, the collection felt like both a reflection and a resolution—an acknowledgment of the Meiers’ evolution at Jil Sander and the signature codes they refined over the years. As they take their final bow, their legacy lingers in the balance between precision and softness, structure and fluidity.

Words by Pedro Vasconcelos

EMPORIO ARMANI FW25

For Fall/Winter 2025, Giorgio Armani seemed to look into the tomboy energy for his latest Emporio Armani collection. The show opened with a look that modernised the classic silhouette worn by Diane Keaton as Annie Hall in the 1970s classic comedy, setting the mood. A roomy pinstriped suit with a matching vest was accessorised with a silver chain hanging on its top button, as well as a leather beret worn tilted on the model’s head. That energy was further explored in leather vests worn over blouses, printed sets, or shrunken blazers (again, adorned with a dangling chain).

Mr Armani’s fabric of choice this time around was velvet – from trousers in deepest green that matched with a tie in the same hue, or a high-waisted black pair worn with a sleeveless top and black gloves and beret (a proposition for nighttime). A humorous accent to the menswear-inspired looks came in the form of prints that showcased a deck of cards. This season, Mr Armani is ready to play, and we want to join him!

Words by Martin Onufrowicz

MARNI FW25

In the sea of brown and beige hues that can usually be associated with Milan Fashion Week, Francesco Risso’s eccentric approach to fashion at Marni is always a very welcome element of the calendar. Oscillating between a fashion show and an art performance, the designer's latest offering for Fall/Winter 2025 was an exercise in unabashed freedom of expression.

In a space filled with canvases that Risso collaborated on with artists Olaolu Slawn and Soldier Boyfriend during their month-long residency The Pink Sun, quirky Marni characters strolled around the arranged cabaret room full of tables with Martini cocktails on them.

Risso’s signature colour-blocking and texture play were out in full force. Silk dresses in the most spectacular blue and canary yellow were adorned with grey and light pink fur trimmings. Ultra-sharp and slightly shrunken coats were accessorised with XL fur stoles wrapped around the models. Tailoring was another highlight – especially the double-breasted skirt suit in chocolate brown worn with snake-printed wedges and a pistachio green bag with matching snake-printed straps. Towards the end of the collection, Risso charmed us with silhouettes in vibrant scarlet – a suit embroidered with a depiction of a black wolf was a particularly poetic proposition.

Words by Martin Onufrowicz

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

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