Moschino Fall 2025

If there was ever any doubt that Adrian Appiolaza is head-over-heels, madly, obsessively in love with fashion, today’s Moschino show erased it in a blizzard of confetti and a full-throttle celebration of the art, science, and pure alchemy of making clothes. At the preview, Appiolaza traced his inspiration back to Franco Moschino’s 1992 Mannequin dress—now part of the Costume Institute’s collection—a cheeky riff on the Stockman dressmaker’s dummy, except Moschino, ever the branding visionary, swapped out the Stockman logo for his own. (And for those keeping meticulous fashion history spreadsheets, yes, Moschino did it half a decade before Margiela.)

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Tod’s Fall 2025

Matteo Tamburini is settling into his rhythm at Tod’s, refining the precise, pared-back aesthetic he first introduced three seasons ago. But today, his approach felt fuller—warmer, more layered, more assured. And let’s talk about the outerwear, because it was some of the best yet.

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Etro Fall 2025

Fur has been everywhere this season—some of it good, some of it unnecessary, some of it a little too self-consciously ironic. But Etro? Etro sent out the kind you actually want to wear. Case in point: the opening look—a shaggy, near-regal wool fur coat, its bold black-and-white stripes giving just enough drama, shrugged over paisley-print trousers and a knitted waistcoat, insouciant and easy.

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D&G Fall 2025

Milan is used to Fashion Week disruptions—the road closures, the screaming fans, the existential crisis of deciding whether last season’s Prada is still ironic enough—but today’s Dolce & Gabbana spectacle took it up a notch. Construction had shut down the tramlines outside their headquarters, so Domenico and Stefano, never ones to let a little civic inconvenience stand in the way of a moment, built their own raised stage in the street.

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Max Mara Fall 2025

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“I was trying to strike a balance between Jane Eyre’s iron-willed restraint and Catherine Earnshaw’s untamed, wind-swept ferocity—to find a woman who exists somewhere between these two emotional extremes.” That was Ian Griffiths’s pre-show thesis for a Max Mara collection that sought to bottle the stormy, windswept romance of the Brontëan heroines—high drama, but make it wearable.

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Marni Fall 2025

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What trick will Francesco Risso pull from his magician’s sleeve this time? That’s the anticipation a Marni show generates—every season, an unpredictable sleight of hand, a door swung open to a world that didn’t exist five minutes ago. Risso is one of those increasingly rare creatures in fashion: a true visionary, someone who doesn’t just make clothes but conjures entire universes, where quirk and craft meet in poetic, almost mystical collisions. His work is ineffable and deeply felt, lyrical yet potent—an antidote to an industry currently flailing somewhere between panic and paralysis, either chasing every trend at once or no direction at all.

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Gucci Fall 2025

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No grand unveiling. No messiah in monogrammed loafers descending from the heavens to rescue Gucci from its latest existential wobble. Just another show, another placeholder, another polite nod to the fact that yes, fashion marches on, even when it’s leaderless. It’s been exactly a decade since Alessandro Michele was plucked from relative obscurity, tasked with salvaging a collection in five days flat, and in the process, rewrote the house’s entire trajectory. Sabato De Sarno? He barely had time to unpack before being unceremoniously escorted out. And for a fleeting moment, the industry held its breath—would we see another eleventh-hour savior? A seismic shift? A moment?

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Fendi Fall 2025

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Yes, the show started 45 minutes late—but honestly, what’s a few extra minutes when you’re marking a full century? And sure, more than one model got lost on a runway designed to mimic the Fendi atelier’s 1960s and 70s salon space (a labyrinth of history, nostalgia, and probably a few bad decisions). But then again, aren’t the best parties always the hardest to leave?

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Diesel Fall 2025

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Weeks before the show, Diesel shipped off six miles of pristine white fabric—blank canvases sent hurtling into the hands of art students and street crews across China, South Africa, the US, the UK, Europe, and beyond. When the fabric finally returned, it was obliterated in layers of graffiti, scrawled-over by more than 7,000 people.

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Simone Rocha Fall 2025

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Simone Rocha still remembers the moment—Miss Ruddock, the school principal, sitting her down and hitting her with the classic: the tortoise and the hare. “In life, you’re either one or the other,” she told her. Rocha, even then, knew exactly where she stood. “I remember coming out thinking, Mmm. I’m so ready to be a tortoise.” And honestly? She was right. Slow and steady gets you somewhere. Fifteen years later, she’s climbed—deliberately, persistently—to near-mythic status in London fashion. Even in an industry that now seems to measure success in influencer impressions (God help us), Rocha’s impact is undeniable.

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