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

THE ROW RESORT 26

Ashley and Mary-Kate Olsen like to do things their own way. Whether it’s asking the guests of their The Row shows to not record (in order to fully take in the experience), to serving them the chicest snacks imaginable – this time, it was sandwiches presented in brown paper, decorated with gherkins on top of the wrapping.

For Resort 2026 (showcased during the Fall/Winter 2025 Paris Fashion Week), the design duo created an atmosphere of charming informality. Though the presentation was hosted in a classically opulent Parisian space, the seating was not assigned – guests could sit wherever they pleased, with many choosing the floor.

This feeling was further evoked by the collection. The looks were presented with no shoes, replacing them with pairs of thick wool tights in black, off-white or beige (often completely matching the colour of the clothes worn on top). The coats were buttonless and their sizeable collars were poetically draped on the models. Shawls worn on top of shift dresses doubled as mittens. The stand out silhouette featured a sleeveless wool dress and a coat tied around the waist with a statement leather belt (or was it an apron?), accessorised with a black headscarf.

Words by Martin Onufrowicz

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LACOSTE FW25

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The Lacoste Fall/Winter ’25 show was a celebration of the brand's very essence. Presented on a circular stage at Roland Garros, the collection, conceived by Pelagia Kolotouros, merged sportswear with tailoring, comfort with precision. Titled An Invitation, it showcased the brand’s ability to imprint elegance onto sporty clothing. More than just an athletic silhouette, the collection was casual while embracing the codes of understated luxury. It exuded Sunday brunch vibes and the ambiance of a café on a terrasse in the 16th arrondissement.

Oversized tailoring, loose-fitting trousers, and skirts that moved freely down the runway, evoking comfort and effortless style, were seen throughout. This created a fresh and youthful take on leisurewear, where the ease and comfort of the silhouettes were elevated by the quality of the textures. The quintessential tennis garment, the polo shirt, was present and reinterpreted in various colours and materials. Whites and deep browns dominated the runway, creating a luxurious feel, while black and forest green added a rich visual depth.

The different shapes of the garments created a visually striking collection. Ample silhouettes hid the natural curves of the body, creating a shape that was straight yet flattering. Puffed garments, including coats, were central to the collection, creating a bold silhouette and disrupting the classic and timeless style of the brand. Tailored suits in magenta pink were unexpected but added a refined and elegant touch to the collection, far from the typical sportswear aesthetic. Pieces adorned with metallic beads and sweaters in sparkling materials stood out, offering a modern and bold approach.

Words by Carolina Benjumea

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LUDOVIC DE SAINT SERNIN FW25

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Ludovic de Saint Sernin means business – quite literally. Following his über-sexy guest Haute Couture collection for Jean Paul Gaultier, the French designer is back with a more demure proposition for Fall/Winter 2025. But fear not, the kink is still there!

The collection opened with a total black look, featuring an oversized menswear-inspired wool coat and a fitted suit. Sounds like office-appropriate attire? That’s the point – in interviews backstage, de Saint Sernin said that he wanted to create a wardrobe for his fantasy workplace. And since it’s a fantasy we’re talking about (and an LdSS one at that), the look was made more naughty by being paired with a leather bustier with the brand’s signature corset detail.

Throughout the show, models strutted down the runway in the designer’s variations on classic tailoring – from pinstriped dresses to camel wool coats. The sexy aspect was still intrinsic to the proposition. A black double-breasted coat was worn with a pair of leather trousers and hot red gloves. Fur coats were cinched by oversized belts that seemed to be an homage to Azzedine Alaïa’s masterful sensuality. A strapless leather top in dark green was paired with bootcut wool trousers.

As for something for after hours? A black latex bikini worn under an oversized trench will do just the trick.

Words by Martin Onufrowicz

GIVENCHY FW25

It’s a bright morning in Paris. Sunlight streams through Givenchy’s Avenue George V headquarters, and while that might be exciting enough for a Londoner, the glee in the room has little to do with the weather. The crowd has gathered to witness Sarah Burton’s debut at the maison. As one of the most adored designers in the industry—responsible for carrying forward Lee McQueen’s legacy for the past decade—she has, in a way, followed in his footsteps. Of course, this is a different Givenchy than the one McQueen stepped into over twenty years ago. In the past decade, the house’s image has been muddled by the egos and personal styles of successive creative directors. Cue Sarah Burton, expected to turn the tide.

Following the theme of "work in progress," Burton found a way to ease expectations—a welcome reminder that patience is a virtue in this industry. Not that much was needed; the collection was a strong start. Tailoring, Burton’s sharpest tool, was on full display. It wasn’t just in the structured coats and rounded, voluminous shoulders. Jackets were chic from the front, with an elegant collar that sat above the model’s collarbones, only to reveal— as they walked by— that they were reversed. Draping on long dresses and bodysuits gathered beautifully at the neck, creating soft volume.

Online, people are celebrating the joy of women designing for women. And while Burton’s appointment speaks to the fact that women hold just 12% of creative director roles in the industry, the praise is also a testament to her construction. Sculpted silhouettes were crafted with comfort in mind, never compromising the wearer.

Backstage, Burton spoke of the similarities between her debut and the maison’s first collection. And while parallels with Hubert de Givenchy’s work were everywhere—leather Bettina shirts and sculptural dresses were hard to miss—it was the embodiment of his humour that felt most refreshing, with the makeup dress and jeweled top nodding to Mr. Givenchy’s campy printed gowns.

Words by Pedro Vasconcelos

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KENZO FW25

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The Kenzo Fall/Winter 2025 show was a fusion of diverse cultural influences, showcasing the brand’s multicultural approach and free-spirited mindset, imprinted by founder Kenzo Takada since its beginnings. Lucky Me? Lucky You was the name of the show, inspired by a sketch made by Kenzo featuring two stuffed rabbits. The playful and youthful inspiration is reminiscent of the brand’s heritage, where urban, humorous, and pop references are used to create sophisticated and tailored pieces.

The show featured eclectic styling, blending casual, street, and fluid elements. Booty shorts were styled with cardigans and crop tops. Silk gloves were paired with flats and socks. Slip tops were knotted around the waist over trousers, creating a chaotic yet innovative style. Oversized draped looks gave a sense of ease and comfort, contributing to an unpolished aesthetic—offering a not-so-serious, young, and fresh take on fashion.

Transparencies on women were part of the feminine and modern looks, while oversized suiting reflected the brand’s Japanese tailoring heritage. Far from being just playful, the collection showcased the label’s precise construction techniques, creating wearable pieces alongside creative styling. Girly accents such as delicate lingerie, tiny floral details on blazers and shirts, and delicate ribbon bows unified the collection. Baby shades of pink, green, and blue blended with the structure of black and white kimono jackets with satin borders.

The rabbits, the common thread of the collection, appeared as graphics on caps, vests, and jackets. Literal rabbit-shaped tops, jackets, and shearling-inspired slippers walked down the runway, reinforcing the playful aesthetic. Embracing the season’s trend, a big, dramatic coat was featured in the collection—this time in hot pink, echoing the stuffed animal inspiration. The overall collection not only highlighted the brand’s fun and playful side but also its bold approach to self-expression and its clean, precise tailoring.

Words by Carolina Benjumea

HODAKOVA FW25

Hodakova is the name on everyone’s lips. Since receiving the prestigious LVMH prize last year, Ellen Hodakova Larsson went from the cool in-the-know designer to one of the key up-and-coming players in the fashion industry. With her collection for Fall/Winter 2025, the Swedish designer reminded us just how unique her vision of sustainable fashion can be.

Over the past couple of years, Hodakova has surprised us time and time again with her ingenious use of deadstock materials. This superpower was in full force with her latest offering. Black leather belts adorned skirts and dresses, bouncing around with the models’ struts. A heap of fur hats has been turned into statement coats. Corduroy trousers have been reworked into a peacoat (with belts used as sleeve trims), while wool pants were used to create floor-length gowns.

The most playful element of the offering came from the designer’s look into musical instruments. A violin became a hat – paired with a simple black dress. A drum was used as an ultra-mini skirt – again, worn with a simple white shirt. However, with the final look, Hodakova went all out – a cello was put on a model, creating certainly the most avant-garde dress proposition of the season.

Words by Martin Onufrowicz

RABANNE FW25

Julien Dossena knows how to keep us excited about fashion. Season after season, the French designer brings his fresh touch at Rabanne to everyday pieces – and a fair share of nighttime-appropriate attire – through deconstruction and material experimentation.

Statement outerwear is a Dossena staple – for Fall/Winter 2025, the designer’s collection for the house opened with a tailored coat with a double-lapel detail, fur-trimmed sleeves and fur tails bouncing around with each step. The fur also appeared on the lapels of black leather cinched coats, dresses, and oversized fur coats with similar fur tails trimming that we saw in the first look.

It wouldn’t be a Rabanne collection without some sparkle. A khaki wool suit shined bright with its sequined lapels (and a matching turtleneck, blending in), while see-through plastic trenches in translucent blue and orange hues revealed the brand’s signature chainmail dresses underneath. The glistening touch was also added by silver key pendants peeking through metal holes in a dress with fur trimming or a black halter neck dress with a dramatic sequined opening on the bottom — both worn with chunky military-inspired boots.

Words by Martin Onufrowicz

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

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