Spring/Summer 2025 Digest
Read one, digest four.
It is said that September is the January of fashion. Luxury houses embrace new eras, designers and their modus operandi may change — "evolve," as some call it — and fresh — or not so fresh — trends arise.
As per, New York Fashion Week kicked off the season with the usual good, the bad and the ugly. From clear odes to the city — see Coach's collection — to Michael Kors' refined workwear, not much has changed. But at least Alaïa proved once again that minimalism doesn't have to be boring, whether through balloon pants, sculptural dresses, furry pom-pom coats, Dune-esque jewelry, or pillowy jackets. Quite the dream.
Those who dream have done so with Wiederhoeft, who again presented a heavenly collection with a focus on technique, emotion and that signature sparkle for which he's so well known. Also dazzling was Grace Ling — Ling's show opened with model Alex Consani with a mirror-esque bodice and a white drama skirt. Ripped blazers, translucent gowns and burn-like dresses joined the stage, where surrealism, sophistication and sensuality abounded.
That hint of sultriness was also seen at PatBo, who instead of adhering to the infamous "come to Brazil" motto, brought Brazil to New York City. Bombshell Alessandra Ambrosio closed the show in a flirty, pink and glamorous dress that set the tone for the entire collection. Floral patterns were included, but they were groundbreaking. Metallic materials became bird feathers and leaves, while butterflies flew down the runway as tops, dresses and embroidered details, both bringing wildness to fashion.
Nature was also in full control at Carolina Herrera, as seen in floral prints. Extravagance and bold colors joined the chorus, echoing a whimsical yet sophisticated look that could easily be seen in Emily in Paris' Emily Cooper. Speaking of TV series, there was a hint of Succession at Ralph Lauren. This season, the American label flirted less with Western fashion. But it still had the kind of American old-money look that would possibly hook all the Roys during their summer in the Hamptons — or in some beachy place in Europe, whatever.
And the world map leads us to Alejandra Alonso Rojas, who was inspired this season by Andalusia, Spain. With elegant, colorful looks that perfectly balance sensuality and refinement, tradition as seen in the lace work Camariñas, and a dash of pop culture with flower brooches à la Carrie Bradshaw on waistcoats, dresses and jackets.
Enough of New York City. Now it's time for The Big Smoke. London highlights were the usual — those who dare to risk it. Whether it was J.W. Anderson's leather skirts, intreccio dresses and puffy bell-like dresses; Masha Popova's characteristic work with denim; KNWLS’ sassy edge; Simone Rocha's signature juxtaposition of fearlessness and delicacy that creates a cool ballerina; or the dazzling and theatrical gowns of Richard Quinn, the innovation seen always instilled a taste for more.
But it was Tolu Coker who really whetted everyone's appetite for more, as her models posed with pure charisma, sporting late '60s-style looks that could have easily been seen on the members of the Supremes, singer Nina Simone, model Twiggy, or actress Sharon Tate.
Charisma ruled Milan too, whether at Diesel's alien-like models in denim, Marni's whimsical dresses, Moschino's playful and sophisticated looks that were Franco Moschino through and through, or Roberto Cavalli, where Fausto Puglisi took a nostalgic trip down memory lane and paid homage to the iconic striped dresses of Fall 2000 — shortly after seen in musician Aaliyah at MTV Awards.
Speaking of celebrities, Madonna — and Jean Paul Gaultier as appointed by fashion fans — also made an appearance at Dolce & Gabbana, as every model who walked the runway sported her signature blonde bob with crucifix earrings and glamorous, sensual designs — such as silk gowns, cone bra-like dresses, and sheer pieces. At MM6 Maison Margiela, nothing was transparent — rather obscure. With a meticulous, gloomy and cool flair, what some might call plain turned out to be much more than that.
And if there's one thing that's not neutral, it's Prada. Mrs. Prada and Raf Simons brought back the signature ugly chic look with an explosion of images and colors. At Bottega Veneta, too, colors and prints pop, this season in a workwear chic wardrobe with proportions that impress. Also making an impression was Steve O Smith, with his pure, artistic dresses and tuxedos that have a surrealistic, hand-drawn feel. Precision also seemed to be a recurring theme at Tod's, a brand that has always had a strong sense of utility, with sculptural and almost architectural designs — with the canvas being the model.
As for models — in this case supermodels — at Versace, all anyone could talk about was Anok Yai, strutting in a golden strapless dress that was one of the few pieces that exuded the Italian brand's signature lustrous flair. Less lustrous, more demure, no one did ballerina fashion better than Maximilian Davis at Ferragamo — from leggings to collants inspired by a fitting for Katharine Dunham, an American dancer and choreographer.
The rhythm in Paris was varied. While Chloé felt like the dreamiest version of boho chic, with cottage dresses and sheer pieces taking over the runway, Balmain had trompe l'oeil prints on structured black dresses that completely tricked the viewer as to what the image and the model were. Then there was Courrèges flirting with Matrix-esque looks, Ganni combining sportswear with sophisticated elements like trench coats and the cool factor as seen in splashes of green and leopard print, and Dior still on an Olympic motto — though the looks inspired by Ancient Greek are far from gold medal-worthy.
With a champion's energy, there was Vaquera. Jersey T-shirts, sultry leather jackets, silk dresses over office blouses, bullet bra tops, cowboy boots, bubble skirts — one seen on singer Rosalía shortly after — and fur coats, which Patric DiCaprio and Bryn Taubensee called their "new basics," demonstrated that to be a winner, you can't be mediocre. Also a winner, Dries Van Noten presented his first collection after Van Noten's departure with his signature exquisite sophistication. From pattern mixes to eye-catching colors, the line was an explosion of sensations.
But when it comes to sensations in fashion, look no further than Schiaparelli. On a runway that resembled an ocean with its bright blue backdrop, Daniel Roseberry created — in a not-so-obvious way — a marine world where coral-like gowns, sheer gowns with long braids that the models held in their hands, and cinched bodysuits met the designer's signature elements such as sculptural shapes, anatomical jewelry, and gold measuring tapes. Truly magnificent.
Saint Laurent was nothing short of spectacular. Not only did we see Bella Hadid back on the runway after a two-year absence, but the house's codes remained deliciously ingrained in Anthony Vaccarelo's mind.
As Yves Saint Laurent-esque androgynous suits were paired with big '60s glasses, boho dresses, dramatic '80s floral coats, layered skirts in bold hues, silk robes, sheer embroidered blouses, and bomber jackets, chic, quirky eccentricity was on full display. It was everything a fashionista needed. Loewe knows what fashion lovers want. As the craftsman Jonathan Anderson is, Loewe maintained the material experimentation it often explores — from pearl-made gowns to Van Gogh and Mozart shirts made of feathers.
As for Mugler, experimentation and homage to Thierry Mugler's codes were also in full swing. The house celebrated its 50th anniversary with looks ranging from corsets and cinched women's suits to a sheer coat with glittering beads. Speaking of sparkling, Rabanne's glitzy dresses and bags couldn't have been more Paco Rabanne in the ‘60s, while basketball shorts, layered shirts and jackets were more now.
Very now were Victoria Beckham's light silk chiffon in resin-printed dresses and Yohji Yamamoto's grungy all-black looks with a pop of red or written leggings that elevated the dark beauty seen. But the ultimate rebel is always Vivienne Westwood. And this season was no different. Andreas Kronthaler brought a cool city rebel gal vibe with messy styling and the punky, daring, and whimsical wardrobe that Vivienne women have always been known for.
Issey Miyake was also a bit quirky, playing with proportions while maintaining all the chic, striking but gentle attitude the brand radiates. Then there was Vetements, which felt too familiar with the tape dresses and bony shoulders seen in dresses. But then Marcia Cross, Travis Scott, Gigi Hadid, and Law Roach walked the runway, so we couldn't really complain – not to mention the closing look, which was Anok Yai as a runaway bride.
Since it's not always possible to run away from the problems and the critiques one faces, at Alexander McQueen Seán McGirr presented an eerie collection based on the Banshee theme, an obvious reference to Lee's macabre work. With nods to McQueen's bumster, feathery dresses, tailored suits and the last look, which was a shimmering embroidery of silver chains, there's definitely an evolution.
As for Ann Demeulemeester, the eeriness was maintained in a cute-meets-gothic way. We could definitely see these items on any groupie vampire. At Balenciaga, it was the usual mix of streetwear and the bizarro that Demna is a fan of. Less macabre and more upbeat were Elie Saab with a real summer must-have wardrobe and flower embroidery, Georges Hobeika with pastels and experimental materials, Isabel Marant with a real boho chic feel with a wilder twist — lots of animal prints, leather, and fringes — and Gabriela Hearst's elegant, multi-colored collection dedicated to the goddess Diana.
Not dedicated to a character from mythology, but just as dramatic, Undercover put on quite a show. Sophisticated, artistic, and theatrical are all words that could be used to describe the grand headpieces or sculptural garments that graced Undercover's runway. As for Peter Do, although minimalist, it had a lot of reconstruction that turned everything into something else.
Stella McCartney was something else too. From chic plissé dresses and trench coats to eco-friendly materials such as recycled plastic bottles and environmental appeals, the collection was very much Stella. It’s about fucking time, the guests donned the iconic slogan tees. Time is running out, because fashion month is coming to an end. The rest of the sartorial game keeps going on with the likes of Miu Miu’s youthful sporty chic meets ugly chic’s eccentricism— where by the way, Willem Dafoe walked the show, which was epic —, Lacoste's tenniscore chicness, and the quirky world of Louis Vuitton.
Some might say that it is about time for Chanel to appoint a new creative director. But the team is doing fine — it's the label's first ready-to-wear collection since the departure of Virginie Viard, and many assumed things could be even more chaotic than before. But at the same time, there was nothing to cause that Za Za Zum in fashionistas' hearts. What caused such a feeling was the most awaited debut ever. At Valentino, Alessandro Michele’s signature maximalism met subtle Valentino codes — a splash of red, ruffles, power suits, and class. A very new Valentino. Where does this leave us? In a new fashion scenario, of course.
