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

GIORGIO ARMANI SS26

Giorgio Armani is a rare being. In an industry where fashion legacies are switched between designers like trading cards, Armani’s legacy sits on his own shoulders. And what a legacy it is. The designer didn’t just create a look, he defined a generation’s sense of style. It’s no wonder, then, that his shows occupy a special place in the industry’s heart. His Spring/Summer 2026 show was, in a way, no different from his previous ones, and in others, competently different. His idiosyncratic elegance, the same one that first set him apart, was omnipresent throughout the collection. Beige suits were cut beautifully, draped across the body with ease.

The classic Armani rhythm walked us from a neutral section straight into a lavender/cerulean/orchid garden. A stand-collared set flowed beautifully in a textured silk. A suede periwinkle shirt was lush, somehow not subdued by a pair of grey linen trousers, instead, highlighted by the bottom half’s neutrality. Printed loose shirts closed off the section, giving way to six monochromatic black looks. Their common colour only emphasised the difference in silhouette: some deep-plunged embroidered shirts, while others revealed the model’s body through sensual yet conservative transparencies.

For the first time in the history of his namesake brand, Mr. Armani didn’t come out to take his bow. A press release issued days before the show stated that the legendary designer was recovering from a brief stay in the hospital. His absence was felt, but his legacy—the fashion language he’s spent the last 50 years writing—was as present as always. Here’s to many more seasons of Mr. Armani waving his hands at us.

Words by Pedro Vasconcelos

EMPORIO ARMANI SS26

For his Emporio Armani SS26 show in Milan, Giorgio Armani seemed to be feeling spiritual. Dressed in shades of earthy tones, the hunky models appeared in variations on mystic wear – long necklaces with coins and tassels were worn on top of vests with matching billowy trousers, tunics with openings on the sides were paired with printed bottoms in sheen fabric and delicate kimono-like coats were juxtaposed with muscled bare chests (no twinks here!) and chunky flip-flops in many variants.

The brand’s show notes for the season revealed that the collection was based upon one of Armani’s central notions: a deep appreciation for cultures from all around the world, and the way it affects modern everyday dressing. As the show progressed towards more evening-focused propositions, the garments became even more intricate, with printed gold vests decorated with rows of tassels, or silk shirts with grandad collars and sophisticated embroidery. When fashion is concerned, Armani is an almost religious figure — and we could not feel more devoted to his latest vision!

Words by Martin Onufrowicz

PRADA SS26

This season, Miuccia Prada and Raf Simons gave us the only consent we’d ever need to be as promiscuous as possible. Prada’s Spring/Summer 2026 opened with its most distinctive piece: a pair of shorter-than-short bloomers with two front pockets. The billowy piece stopped at the top of the thigh, leaving the rest of the leg free to feel the gaping air of the Fondazione it walked in. Later accompanied by matching shirts, fringed shirts, and light knit polos, the first look saw an oversized camp shirt tucked into the shorts, as if for us to absorb it in all its glory. The appearance of the piece on the runway is hardly surprising. Considering Miuccia’s previous endeavour in pantless activities—the irrevocably beloved Miu Miu hotpants—it only makes sense that the phenomenon would be replicated in menswear.

 And yet, the short(est) shorts weren’t meant to be sensual at all. Instead, they related the naked legs to something entirely more freeing: youth. Backstage, Prada and Simons talked of simplifying, of making lighter fashion in a heavier world. And even if the petite shorts could make us take their words literally, the lightness the duo speaks of backstage is palpable. It’s the exaggerated woven hats. It’s the tasselled striped oversized knits. It’s the gigantic daisies on boatneck shirts. It’s the backpacks carried in hand.

Considering the omnipresent intellectualism of a Prada collection, the duo’s desire to unload that weight was interesting. It wasn’t a haphazard affair (even if, backstage, both Prada and Simons related that it was the easiest collection they’ve made), but a humbler one. There was no overthinking. A pair of trousers was just that: perfectly cut and pleated trousers.

Of course, there had to be some lingering complexity—after all, Prada lives in the push and pull. Brightly colored tracksuits were still shoved inside perfectly tailored suits. Leather jackets were still made to fit ever so slightly “off”. The stars of the show themselves weren’t just short shorts; they ballooned at the waist. I won’t overcomplicate the meaning of their silhouette. I doubt Miuccia would approve, considering the show’s intent. The important takeaway here is: next summer will be a pantless one. Prada said so.

Words by Pedro Vasconcelos

PAUL SMITH SS26

Paul Smith knows his way around colour-blocking. For his latest SS26 collection presented in Milan, the English design icon showcased an offering filled with garments in hues that are used in menswear way too rarely (if you ask us). The collection opened with a lineup of looks where psychedelic printed shirts matched the ties worn on top and were worn with loose trousers. A pale chartreuse suede jacket was paired with roomy black shorts, while a fuchsia knit was tucked into cargo-green bottoms. The rich palette also made its way to the accessories portion of the show, with the models holding netted grocery carriers that matched their small bags. Sneakers ranged from orange and baby blue, while leather belts in bright yellow and green cinched the silhouettes. Towards the end of the show, the propositions became more subdued. Suits in dark grey and navy were pinstriped and paired with neckties in a darker fuchsia and olive green, adding a sense of eccentricity to classic tailoring.

Words by Martin Onufrowicz

DOLCE & GABBANA SS26

There’s something really captivating about the Dolce & Gabbana duo. On one hand, they always manage to have one of the most attractive lineups of fashion week; on the other, the brand has created a man of its own—one where edgy contemporary and sensual meet Italian classic—and that is the greatest power of the label. The Dolce & Gabbana man exudes sophistication with a lavish vibe.

For this season, the pyjama was at the centre of the inspiration, declined in different colours, styles, prints, and fabrics. The collection was an ode to tailoring, effortless elegance, and intimate sophistication. Stripes were present throughout the show, while animal print, polka dots, embroideries, and florals added a fun twist. Elegant and relaxed tailoring took the spotlight, with a strong emphasis on soft summer suiting, breezy aesthetics, and retro touches.

Lightweight fabrics mixed with knits, slouchy tops, fur, and loose jackets were all part of the repertoire that created a loungewear-meets-runway aesthetic. There’s a sense of soft masculinity, relaxed sensuality, and a romanticism around the collection. Earthy creams, sandy beiges, soft yellows, faded reds, powder blues, and subtle pinks were central to this resort wear approach.

More than a clothing style, the looks represented the lifestyle of a stylish vacationer lounging in a coastal European town. The collection channelled a laid-back Riviera vacation, a summer at the pool and cocktails on a yacht; refined, stylish, and contemporary. With this show, Dolce & Gabbana delivered its vision of masculine elegance and summer style through softness, drape, and detail.

Words by Carolina Benjumea

MSGM SS26

For its men’s Spring/Summer 2026 collection, MSGM created the ultimate outdoor wardrobe. Inspired by cycling, Massimo Giorgetti explored a new terrain of movement and creativity—one where the raw energy of the wheel sport merges with the vitality of motion, resulting in a collection that is both eclectic and functional, fusing the vibrancy of streetwear with the sophistication of tailoring.

I Feel the Rush is an intriguing approach to men’s fashion and outdoor culture. The collection explores both the creative side of cycling and the functional side of artistry, all while delving into poetic landscapes and encounters with the inner self experienced through this practice. The bicycle is more than a muse here; it becomes a metaphor for identity, emotion, and a sense of youth and irreverence.

The pieces are designed to meet the essential demands of movement, while colours and prints convey the expressiveness and vision of the modern man. Faithful to its DNA, the collection is a dynamic kaleidoscope, with high-energy pieces at its core. Deconstructed tailoring merges with playful floral prints, pink stripes, ‘Ride Hard’ slogans and neon touches. Two of Italy’s most iconic jerseys—the Maglia Rosa and Maglia Gialla—make an appearance as a nod to the Giro d'Italia and the cycling lifestyle. Giorgetti used his own iPhone snapshots, taken during real rides, as prints, offering an intimate glimpse of nature, mountains, and travel, transforming garments into memories.

Fabrics such as nylon, Cordura, and mesh—chosen for their suitability for movement and breathability—are used to showcase innovation and technical prowess. Nature-inspired hues highlight the collection’s connection to the earth.

For the campaign’s visuals, the brand collaborated with Collective 24.7 Fastlife, a Milan-based bike-core brand. The presentation took place at MSGM’s flagship store, featuring an installation by the architectural collective Fosbury.

Words by Carolina Benjumea

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ZEGNA SS26

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Zegna might be associated with classic menswear elegance, but as the Italian house showed us with their SS26 collection, they like to think outside the box. Staging their latest runway show outside of the fashion week schedule in Dubai Opera, Alessandro Sartori, the brand’s creative director, brought a sense of poetic and poised sophistication to a metropolis mostly recognised for its explicit glamour.

The offering opened up with a selection of looks that were purposefully crinkled, evoking the spirit of nonchalance. Shirts were tied around the waist, and loose-fitting suits were accessorised with thin scarves and leather slippers, adding to the modern dandy sensibility. A line-up of tailoring silhouettes was juxtaposed with models walking barefoot on the sand-coloured runway, holding the shoes in their hands or placing them in the pockets of their jackets.

Zegna equals superior fabrications. Here, the ultra-light silk was mixed with textured wool and leather. A standout look featured a chocolate brown jacket in croc, treated to resemble suede. Another highlight was the colour-blocking, with buttery yellow, olive green and eggplant hues providing the final accent of refinement.

Words by Martin Onufrowicz

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LOUIS VUITTON CRUISE26

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For Louis Vuitton’s latest cruise chapter, Nicolas Ghesquière chose a setting as bold as his silhouettes — the Palais des Papes in Avignon. Under the gaze of Gothic spires and centuries-old stone, he sent out a cast of characters in spangled tunics, metallic jersey, and sculptural capes. The energy was theatrical, yes, but never overwrought — each look striking that fine Ghesquière balance between fantasy and futurism. Crusader spirit met couture precision. Think Joan of Arc by way of a Parisian atelier. It wasn’t history reenacted, but history reimagined: full of edge, gleam, and unapologetic drama.

Words by Lina Mess

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SAINT LAURENT FW25

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It’s a beautiful day in Paris, not just because it marks the grand finale of a chaotic fashion month but because it’s the most exciting one of all: the Saint Laurent day. In an industry prone to turbulence, Anthony Vaccarello remains a steady purveyor of pleasure for fashion lovers.

Much like last season, where there was a clear distinction between two sequences, the same was true here—only reversed. Last September, powerful, neutral-colored suiting was followed by jewel-hued, lace-layered pieces (the last of which was undoubtedly the look of the season—seen on everyone from Chloë Sevigny to Amelia Gray). This time around, the bright colours came first, with beautifully defined shoulders and straight-hipped dresses in Yves Saint Laurent’s classically bold shades.

The shift that followed was subtle yet striking. The silhouettes remained constant, but the statement emerged in the details—different colours, textures, and transparencies. Blurred floral and animal prints in shiny, sheer midi dresses shimmered hypnotically as models walked down the runway. Complementing the ethereal dresses, leather jackets featured an architectural, boxy structure—not cinched at the waist as one might expect, but resting lower on the hips, adding an unexpected edge.

Moving through the wonderfully neutral venue, the models first marched like colourful ants in a mesmerizing rhythm—until they didn’t. The vibrant short dresses faded into long, neutral-hued gowns and oversized jackets, each still following the same precise silhouette but now exuding a more grounded, composed elegance.

In a season that swung between the daring and the dreary, Vaccarello’s assured vision was a breath of fresh air. His consistency wasn’t just reliable—it was exhilarating.

Words by Pedro Vasconcelos

BURC AKYOL FW25

More often than not, designers like to create collections with a woman in mind – a muse which encapsulates the essence of their brand. For Fall/Winter 2025, Burc Akyol flipped this notion on its head – conceptualizing an offering that became an homage to the feminine qualities within himself.

Aptly titled FEM, the proposition centred around menswear classics, redefined. A power-shouldered blazer in pinstriped navy became a mini dress – worn with a pair of see-through stirrup leggings adorned with gold coins. The glimmering detail was further used in its maximalist iteration on a statement cropped leather jacket, with an abundance of leather straps moving to the rhythm of the soundtrack. A traditionally masc denim jacket became glam through the use of black fur wrapped around the collar.

Akyol is a big fan of sheerness, with some of his most-known designs being created out of diaphanous chiffon. This time around, the silhouettes were reconsidered through accents of vibrant hues, with the brand’s signature slinky gowns featuring hints of cobalt blue and fuchsia.

Words by Martin Onufrowicz

MIU MIU FW25

Oh, how we love it when Miu Miu lets their retro flag fly! Remaining at the very top of the most buzzy brands in the industry, Miuccia Prada decided to steer away from sporty prep that she explored for the past few seasons in place of more traditional elegance.

The opening look – a tight pink knit hugging the bullet bra worn underneath and slinky brown skirt were paired with an assortment of ladylike accessories: a cloche hat nodding to the 1920s flapper style, a fur stole carried on the arm along with a patent leather bag, and pointy loafers worn with over-the-knee silky wool socks. Later in the show, the stole (this time, worn on the neck) revealed its practical detail – pockets to protect hands from the cold – making it a sure bestseller for the upcoming fall.

As for the fur, the material also made its way onto sophisticated outerwear pieces – from a classic shape coat (decorated with a gold brooch) to an ultra-cropped version resembling a bolero. The always-welcome menswear offering for the season was also built around statement coats, with the patent leather peacoat and patinaed suede blazer being our favourite propositions.

Aside from the aforementioned loafers, the looks featured knee-high boots with a buckle, the new shiny iteration of the brand’s popular sneakers, and sky-high open-toe heels (again, worn with the long socks).

There was a sense of welcome familiarity throughout the collection that spoke to us in these unpredictable, volatile times. When things get tough, covering oneself with elements that remind us of our histories can be a source of cherished comfort – the ultimate luxury.

Words by Martin Onufrowicz

CHANEL FW25

In what marks the final collection designed by the studio before Matthieu Blazy makes his much-anticipated debut, Chanel delivered a quintessentially Chanel collection. Not in spite of its transitional nature, but because of it. The Grand Palais was adorned with a giant bow—an overture to the collection’s central motif—around which models circled as if orbiting Chanel’s ever-iconic codes.

The usual suspects were all accounted for: tweed sets, quilted bags, and this time, bows—lots and lots of bows. While the one on the catwalk was undoubtedly the largest, others were scattered throughout the collection, appearing in prints, tucked into models’ hair, embroidered onto garments, and even reimagined as jewelry.

However, even within the brand’s signature vocabulary, there were playful deviations. One of the show’s first looks was a white tweed set layered beneath a black tulle overlay, its billowing silhouette evoking the shape of a gown. This interplay of structure and lightness recurred throughout the first section of the 70-look lineup, gradually giving way to ruffled collars on suit jackets and shift dresses. There were moments of intrigue—like a denim set that seamlessly faded into translucent white edges, a testament to the skill of an atelier whose savoir-faire has sustained the house for decades.

Yes, the anticipation of a new creative force at the helm of one of the biggest brands—not just in luxury, not just in fashion, but of all time—is thrilling. But collections like these remind us that with a legacy as formidable as Chanel’s, we’re in very good hands.

Words by Pedro Vasconcelos

VALENTINO FW25

The bathroom stall is the best place in the club. There’s just so much to do: make new friends, share positivity, and even get a quick workout in. While we choose to remain PG, Alessandro Michele went in the opposite direction. In a Valentino-red set, the designer presented an extravagant yet intellectual collection—an apt setting for a show that reveled in excess and spectacle, borrowing freely from Mr. Garavani’s maximalist archive to conjure a wardrobe for nocturnal hedonists.

Michele’s Valentino is not about restraint. Instead, it’s a heady, hallucinatory vision of glamour—psychedelic office wear saturated with riotous colour and texture, sequins refracting light like a disco ball. There were moments of elegance, of course—razor-sharp tailoring slicing through the opulence, offering a brief reprieve in an otherwise intense lineup. But, even grey structured jackets were paired with shiny collars, long coats with snakeskin pockets. He pulls from history, but rather than preserving it, he remixes it into something feverish and deliriously modern. It’s the kind of fashion that seduces, overwhelms, and ultimately intoxicates. And then, there was the quintessential Michele oddity: an enormous, hyper realistic cat dress that felt utterly surreal. 

Michele personifies himself as Dionysus—a conjurer of dancing orgies where extravagance isn’t just opulent but spiritual. The clothes aren’t merely meant to be worn; they are meant to be lived in, worshipped, and paraded under the pulsing lights of a dance floor (or rather, the dim bulbs of a bathroom stall).

Words by Pedro Vasconcelos

LOEWE FW25

In a constant game of fashion musical chairs, some changes make us more emotional than others. Jonathan Anderson’s now-ending tenure at Loewe – the Spanish luxury house he revived over the past ten years – is one of the eras we will look at most fondly.

Teased by a reel posted by the designer on his Instagram (not going to lie, we shed a tear or two while watching it), Anderson’s final collection for the brand perfectly rounded up his singular take on modern dressing. Hosted inside palatial Parisian interiors, the presentation featured a range of mannequins theatrically placed around the grand space.

A group of static “models” showcased some of this season’s most exciting leather jackets and coats, constructed out of strips gathered by belts used as trims. Two tailored suits in sand and navy were juxtaposed with pairs of over-the-knee leather boots that riffed on practical fishing gear. A rainbow of cocktail dresses made out of strings of necklaces created a refreshing idea on nighttime dressing, while draped gowns in cream and lilac showed us for one last time Anderson’s magical touch in construction before he announces his plans for the future.

Words by Martin Onufrowicz

LOUIS VUITTON FW25

In a carousel of fashion week, one thing is for certain. Watching a Louis Vuitton collection will make you feel exhilarated. From the over-the-top staging to an abundance of new ideas, Nicolas Ghesquière knows how to take his audience on a wild ride – one that we can’t wait to get on time and time again.

The Fall/Winter 2025 show was staged in a courtyard of a Parisian tenement house. As the music pulsated through the venue (can we talk about the fact that Louis Vuitton always has one of the best soundtracks of the season?), the models strutted in Ghesquière’s latest fineries.

The collection opened with looks featuring see-through leather trench that resembled plastic outerwear straight out of American Psycho. As is customary with a Louis Vuitton show, Ghesquière gave us more than a couple of coat silhouettes to choose from – a bohemian black velvet proposition was adorned with black ostrich feathers, while the cream cape with black trimming was cinched with a double-bag belt.

Another highlight was the dresses. A black-and-red checkered mini in wool resembled an ultra-big scarf wrapped around the neck. The scarf detail also made an appearance in one of the floor-length gowns trimmed with lace – creating an architectural adornment on the bustier. A grey and red turtleneck dress looked like a futuristic take on a 1980s style (one of the designer’s favourite decades to look back on).

Accessories-wise, hats and shoes created plenty of commotion. Aviator hats were knitted out of the softest wool in pale hues, while a bucket hat was blown up in size and constructed out of sturdy leather. As for the shoe of the season? The wedges with an oversized sole in an array of colours are leading the way.

Words by Martin Onufrowicz

DURAN LANTINK FW25

If there’s one thing Duran Lantink does well, it’s leading headlines. And if his ballooning silhouettes were once the subject of countless articles, this season, he has plunged into far more treacherous waters. In a Severance-like office space—cubes filled with operatic singers—the rubber torso that opened the show wasn’t necessarily shocking (or at least not compared to what was to come). The designer’s growing mark on the industry is one of boundary-pushing. Lantink’s world isn’t about refinement but about redefining the limits of what we think clothes should be.

Patterns clashed with reckless intent, extreme prints battling for dominance within the same look, as if mocking the very idea of harmony. There was no concern for convention, only the thrill of disruption—Leon Dame striding down the runway in nothing but a speedo, boots, and body paint was thrilling, to say the least. But Lantink’s work isn’t just a visual riot—it’s a manifesto against the rigidity of aesthetic hierarchies. Silhouettes warped and redefined themselves, rejecting tradition in favor of pure, unfiltered experimentation. 

In a world consumed by the curation of taste, Lantink doesn’t just disrupt—he dismantles. His designs don’t whisper; they scream, provoke, and force us to question our own instincts. And perhaps questioning was precisely the intent behind the final look, where a model walked the runway with a pair of rubber breasts. Was it satire? Was it subversion? Was it a senseless provocation? The point is, we’ll never know—but we’re all talking about it. A conversation has begun, and in Lantink’s world, that’s the only certainty that matters.

Words by Pedro Vasconcelos

McQUEEN FW25

Seán McGirr’s third collection for McQueen felt like stepping through a warped looking glass. And while the set design certainly helped the metaphor, the clothes themselves undeniably complied with the analogy. The past, both in its mythological sense and branded one, was twisted, stretched, and reanimated.

Inspired by Charles Dickens’ Night Walks, the show unfolded like a fever dream of Victorian London. The ghosts of McQueen’s greatest hits loomed large, but they didn’t haunt so much as they prowled. Voluminous short jackets, their proportions exaggerated to near-surreal extremes, swelled with a sense of tension. Intricate bullion embroidery gleamed under the lights like gilded armor, elevating the collection’s dark romanticism into something almost ceremonial.

But perhaps the clearest nod to the house’s legacy was the return of the skull print—an emblem of McQueen’s past, now recast in McGirr’s vision. Not just a symbol of mortality, but of transformation—of an aesthetic lineage being unraveled and reassembled. This wasn’t nostalgia; it was excavation, reinvention, a rewriting of history with a sharper, more brutal pen—McGirr’s boldest statement so far.

Words by Pedro Vasconcelos

ANN DEMEULEMEESTER FW25

On his fourth collection at the helm of Ann Demeulemeester, Stefano Gallici has calcified his approach to the brand. Unlike the majority of his generation, who see roles in different houses as ways to bolden their voice, he chooses to follow the beat and path. Romantic ruffles, raw edges, dark undertones—Gallici leans into the house’s established language rather than rewriting it.

This season, his vision felt more assured: flowing sheer shirts billowed under sharply tailored coats, distressed knits clung to the body, and leather pieces carried a worn-in sensuality. If past collections sometimes felt like reenactments, this one had an underlying conviction, a sense of ownership over the house’s aesthetic codes rather than deference to them. The balance between structure and fluidity was sharper, the interplay of textures richer.

Even in its stability, there was movement. Collars draped off shoulders with the kind of undone elegance that looks accidental but isn’t. The tension between precision and disarray was at its most distilled. It’s a commitment to quiet rebellion, not reinvention. And while some may long for a bolder departure, Gallici’s restraint proves that sometimes, refinement speaks louder than disruption. In embracing subtle evolution over radical change, he ensures that Ann Demeulemeester’s legacy endures—brooding, romantic, unmistakable.

Words by Pedro Vasconcelos

COMME DES GARÇONS FW25

Rei Kawakubo has never treated fashion as a passive art form. Her work is an argument, a confrontation. Last menswear season, she addressed the horrors of war and the helplessness of those forced to fight. For Fall/Winter 2025, she once again turns her gaze to the state of the world—not in response to a single event, but to a broader reality, one where corporations have infiltrated the political landscape, twisting the news into Orwellian roll calls. The collection swelled with distortion, garments mutating beyond their intended forms, swallowing themselves whole. Dresses bulged with grotesque protrusions, silhouettes sprouted extra limbs, and layers of fabric stacked with geological sensibilities. Excess has broken loose and run amok.

A velvet dress wasn’t simply a dress—it was a tower of flattened frocks stacked one on top of the other, an archive of past lives draped onto a single frame. Then there were the cartoonishly exaggerated bullet breasts, inflating Kawakubo’s deconstruction of femininity into something both absurd and unsettling as if womanhood itself had been distorted by too many hands, too many expectations, too much interference.

Each look seemed to pose a question: What happens when excess runs unchecked? When does accumulation stop being power and start becoming weight? The collection reads like an autopsy of overconsumption, of unchecked growth, of the way grandeur, when pushed too far, collapses under its own pressure. It was the anatomy of excess in its final, desperate gasps—mesmerizing, unsettling, impossible to ignore.

Words by Pedro Vasconcelos

BALENCIAGA FW25

The Balenciaga Fall/Winter 2025 show began with a romantic and nostalgic musical backdrop. As the soundtrack evolved, the collection showcased a more dynamic and multifaceted style, with the dark setting adding to its mysterious allure. Staged at the Cour du Dôme des Invalides in Paris, the show blended different creative references. Far from cohesive, the collection seemed almost tailored to a very wide clientele.

In an unexpected twist, Balenciaga went back to the basics of construction and design, opening the show with a series of men in tailored suits and carrying briefcases. The futuristic, bold, and deconstructed designs of Demna were exchanged for tailoring and corporate attire, offering lessons in technical construction. Trench and fur coats added a timeless touch, while leather bombers brought strength to the collection.

Minimalist looks were seen throughout, such as the monochromatic beige look with a long-structured coat and matching scarf or the hooded wool coats with simple cuts. The asymmetric dresses, some in lace, were sensual and feminine, creating a rare and never-before-seen aesthetic for the brand. Other looks embodied effortless elegance, featuring wide-legged jeans and sweaters, as well as ensembles in distressed denim.

The designer also played with the proportions of the garments—some tailored to perfection, while others were oversized and baggy, such as the tunic-like, floor-length hoodie in electric blue. Some silhouettes embraced the gym bro aesthetic, with shredded tank tops and joggers worn by tattooed, muscled models. Visor-style sunglasses provided an edgy, futuristic touch, evocative of Demna’s signature aesthetic.

Words by Carolina Benjumea

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