Six Ways to Holiday Like an Old-School Travel Journalist ~ Without Using the Internet

The Travelling Companions by Augustus Leopold Egg (1862). Birmingham Museum and Art Gallery

By Masood Khodadadi, University of the West of Scotland

We all want to get the most out of our holidays, which is why we so often turn to online “top things to see” lists, or TikTok recommendations of a destination’s best sights and eateries.

But as useful as these strategies can be, using the internet to plan every detail of your travel omits the essence of discovery – the very thing that made pre-internet travel journalism so thrilling to read.

These six tips explain how you can explore a new place like an old-school travel journalist or an explorer from a bygone era. They’ll enable you to look up from your phone, and discover your destination with intuition and curiosity.

---

1. Discard the itinerary and trust your gut

Freya Madeline Stark by Herbert Arnould Olivier (1923). National Portrait Gallery

Before smartphones, travel journalists such as Freya Stark and Bruce Chatwin depended on serendipity. They didn’t have TripAdvisor or Google Maps to guide them. Rather, they listened to their instincts and locals’ advice about how to shape their journey.

A famous example is Chatwin walking through Patagonia after conversations with locals advised him of his next stop.

Try this on your next adventure: walk without a plan. Follow your instincts towards any of the local cafes, quiet parks, or bustling markets. And if all else fails and you are not quite sure where to start, just stop and ask someone near you what it is that they love about the area. Many times, people’s stories will take you to places you would never have found online.

2. Use analogue maps and guides

Before GPS, maps weren’t just functional – they were part of the adventure. Travel writers like Jan Morris and Paul Theroux (father of documentary presenter, Louis) wrote about how their unfolding maps forced them to interact with the landscape in a tactile way.

Pick up a local map in a bookshop or visitor centre and unfold it in a cafe. Mark where you have been and circle the areas you are curious about.

In their early editions, guidebooks like The Rough Guide and Lonely Planet didn’t give a thorough list, but instead pushed cultural immersion travel, which is concerned with authentic activities. Think local traditions, history, language and customs of the place you’re visiting. Cultural immersion travel involves mingling with the residents to get an in-depth feel of how they live.

Although carrying a printed guidebook seems vintage, this act plunges you back to the time when the discovery of hidden corners of a city was about turning pages, not scrolling.

Chatting with locals is a great way to discover gems in a new place. English Tourists in Campagna by Carl Spitzweg (1845). Alte Nationalgalerie

3. Speak to local people

Pre-smartphone travellers had one irreplaceable resource at their disposal – people. On his long walks across Europe, for example, travel writer Patrick Leigh Fermor relied on the people he met for insight into local customs, history and hidden gems.

Do exactly the same thing. Go to a typical bar, a bazaar, a local event, or attend a course on the language or the cooking of the place. Engage a bartender, shop owner, or street vendor in a chat. These tips will steer you off the beaten path of algorithms.

4. Immerse yourself in slow travel

Travel journalists of the past were in no hurry. Rather than zipping from one attraction to the next, they stayed put for long enough to pull back the layers of a place. Writer Rebecca West’s trek through the Balkans (which she described in her 1941 book, Black Lamb and Grey Falcon) took months. Her long stays in villages allowed her to really get to know the place and its complexities.

You should slow down on your next trip, too. Stay on in a small town or neighbourhood a little longer than you planned to. Stroll its streets and soak in the rhythms of daily life.

5. Read travel literature

The writers of travel history books, be it Robert Byron’s travels among the architecture and culture of Persia, or Isabella Bird entering unknown 19th-century Japan, articulate how their predecessors perceived the lands they visited.

Read books written by local authors to get deeper into the cultural context of the place you’re visiting. You’ll find their reflections on their hometown or region often give you a more insightful, nuanced perspective than any modern day “top ten” list could.

6. Research the history of every place you visit

Writers like Colin Thubron included historical and cultural details to make their travel stories richer and more meaningful.

Whether you find yourself at a local museum, reading up on the past of a place, or simply walking its streets with an eye for historical markers, learning the background of where you are can infuse your visit with added meaning.

Masood Khodadadi, Reader (Associate Professor) in Tourism, Culture and Society, University of the West of Scotland

In Vogue: the 90s was a Boom Time for Australian Fashion and Faces. What Happened?

Collette Dinnigan was the first Australian designer to show at Paris Fashion Week in 1996 . Pictured above is a look from her last collection in the French capital at Le Meurice Hotel for Autumn/Winter 2013. Cover picture by Elli Ioannou for DAM

By Sasha Sarago, Charles Sturt University

The In Vogue: The 90s series transports audiences back to the glamour and grandeur of a transformative decade for fashion. Set against the backdrop of New York, London and Paris, the series explores the rise of supermodels, designer powerhouses and fashion’s global influence. But the fashion scene in Australia  ~ a country that was also enjoying a meteoric rise in international success at the time ~  does not crack a mention.

The 1990s marked a golden era for fashion. Supermodels like Linda Evangelista, Naomi Campbell, Cindy Crawford and Christy Turlington became style icons. Designers like Tom Ford, Jean-Paul Gaultier, and John Galliano pushed the boundaries of fashion creating moments that defined the times and influenced everything from pop culture to politics.

Even though Australia may not have had the runway clout of Paris or New York, the nation was making significant strides in fashion during the same period. Australian designers’ and models’ distinct styles were impressive – giving fashion heavyweights a run for their money.

So, what went wrong?

The 90s turned the fashion industry upside down.

Australian designers, international success

In the 1990s, Australian designer houses such as Alannah Hill, Collette Dinnigan, Akira Isogawa and Sass & Bide signified Australia’s “coming of age” in fashion, with each designer bringing a unique flair and Australian sensibility to the international market.

Alannah Hill created a whimsical aesthetic with an edgy twist. Her designs, worn by celebrities Nicole Kidman, Helena Christensen and Courtney Love, earned her a cult following. Business skyrocketed from her Chapel Street boutique in Melbourne to the department stores Selfridges and Browns in London and Bergdorf Goodman and Henri Bendel in Fifth Avenue, New York City.

In 1996, Collette Dinnigan gained worldwide acclaim as the first Australian designer to showcase her collection at Paris Fashion Week. Dinnigan’s delicate lace dresses and couture craftsmanship found a spotlight at London’s Victoria & Albert Museum’s Fashion in Motion exhibition. Striking while the iron was hot, Dinnigan secured a lingerie collaboration with Marks & Spencer.

Collette Dinnigan’s designs were celebrated in a 2015 retrospective exhibition. 4Susie/Shutterstock

Akira Isogawa, known for his blend of Japanese and Western aesthetics shared his first collection in 1994. He has presented subsequent collections in Paris bi-annually, a legacy sustained since 1998. Innovative from the jump, he turned early constraints to strengths. When the budget for his first big show didn’t stretch to shoes, he sent models down the runway in little red socks. The fashion statement helped him eventually secure more than 50 retail partners.

Sass & Bide, founded in 1999 by friends Sarah-Jane Clarke and Heidi Middleton, brought a youthful, urban energy from London’s Portobello Road Markets back to Australian shores. Their signature brand quickly gained popularity and was acquired by Myer in a A$42.3 million two-part deal. Australia was no longer a disconnected island but a wild card in the global fashion ecosystem.

Australian faces and Elaine George’s Vogue cover

Australian designers weren’t the only superstars gaining fashion fame.

By the time the supermodel phenomenon etched itself into the fashion zeitgeist, Australian model and businesswoman Elle Macpherson (known then as The Body) was already well known. Australian models Sarah Murdoch, Kristy Hinze, Kate Fisher and Alyssa Sutherland would follow.

Sarah Murdoch (nee O'Hare, pictured with Anneliese Seubert and Emma Balfour in 1996) graced Australian catwalks in the 90s. Patrick Riviere/Getty

Magazine cover models throughout the 90s showed sun-kissed “girl next door” charm. The exception was Emma Balfour, often touted as Australia’s androgynous counterpart to Kate Moss’s grunge-bohemian look.

But 1993 produced a turning point in Australia’s beauty paradigm. It was the year Elaine George, Australia’s first Aboriginal fashion model, arrived on the cover of Vogue Australia magazine, making fashion history. Elaine’s presence highlighted the Australian fashion industry’s prioritisation of Eurocentric beauty ideals.

First Nations beauty and fashion talent urgently needed celebrating. But Vogue’s Australian readers had to wait until October 2000 until Torres Strait Islander singer-songwriter and actress Christine Anu was featured on the cover. The gap showed the stain of underrepresentation and inequity within Australian fashion’s reputation had remained.

The 2000s, when fashion got much faster

While the 1990s were a period of optimism and growth for Australian fashion, the momentum failed to continue into the 2000s. Several factors contributed to this decline.

One of the most significant changes was the rise of fast fashion in the early 2000s. Brands like Zara, H&M and Forever 21 began dominating the global market with affordable, quickly produced garments.

This shift left many independent designers, including those from Australia, struggling to compete. The slow, meticulous craftsmanship that had defined Australian designers in the 90s could not keep up with the fast-fashion cycle.

Another challenge was the lack of sustained support for the Australian fashion industry. Unlike New York, London or Paris, which had well-established fashion infrastructures, Australia’s fashion scene was still relatively young. There was no long-term strategy to nurture emerging talent or to promote Australian fashion on a global scale. Many designers either relocated abroad or found it difficult to maintain the same level of success they had achieved in the 90s.

A new Renaissance?

The story of Australian fashion in the 1990s is one of promise, yet ultimately missed opportunity. Today, Australia has a chance to enter a new renaissance fuelled by digital innovation and its unique cultures.

The rise of digital fashion enables Australian designers to break free from the constraints of traditional fashion markets. With virtual clothing (simulated for real wear or digital realms), AI-powered design tools and metaverse runways, Australian creatives can harness technology to showcase their work globally.

The championing of Indigenous models, designers and multicultural identity is essential. This inclusivity could position Australia as sustainable and ethical fashion innovator and present a compelling alternative to the fast-fashion giants.

In Vogue: The 90s is now streaming on Disney+.

Sasha Sarago, First Nations Cultural Innovation Lead - Beauty and Technology, Charles Sturt University

The Poetry of Paper: Issey Miyake Spring/Summer 2025 Collection in Paris

The delicate folds of the Eau series featured in the new Issey Miyake collection shown in Paris. Cover picture and main photograph by Elli Ioannou for DAM 

In the midst of Paris' Parc Floral, Issey Miyake's Spring/Summer 2025 collection titled The Beauty of Paper was a quiet yet rather profound exploration of one of the world’s simplest materials. Artistic director Satoshi Kondo's captivating design and craftsmanship took paper, something so commonplace it fades into the background of our daily lives, and transformed it into a conduit for creativity and reflection, writes Antonio Visconti. Photography by Elli Ioannou

The seats at the show made

from cylinders of paper 

with the show notes on top.

SATOSHI KONDO'S latest collection is embedded in a centuries-old Japanese tradition: the art of making washi, a traditional Japanese paper that carries with it both cultural significance and a sensory, tactile experience. 

The storied Japanese fashion house's research into this omnipresent material delves into not only its technical properties but also the emotions and sensations it can bring. What makes paper ~ something so simple ~ evoke feelings of purity, comfort, and even nostalgia? Kondo’s exploration begins from this question, evolving into a poetic meditation on the significance of paper in human life.

The set design featured stools made from compressed paper sheet cylinders, once used in the brand’s famous pleating process, and recycled into functional seats for the event. These stools, marbled to mimic the growth rings of tree trunks, subtly nodded to the passage of time, a theme woven throughout the entire collection. 

It was a gentle reminder that while fashion is ever-changing, the materials and traditions we draw from are deeply rooted in history. The designs coming out on the runway constructed from a mix of washi and rayon-silk flakes, called the Fold to Form series, reimagine the traditional techniques of origami, an art form that shares paper’s humble roots, to create angular, three-dimensional designs. 

The result is a blend of structure and softness, where precise, box-like forms draped with the fluidity that could only be achieved through Satoshi Kondo's innovative use of washi fabric. Each piece moves with the body, adapting its rigidity to the wearer’s form, displaying a tension between control and freedom that highlighted the designer's mastery of the material.

The set design featured stools made from compressed paper sheet cylinders, marbled to mimic the growth rings of tree trunks, recycled into functional seats for the show

The Ease series of designs made from

washi paper, hemp, mohair and wool,

draping beautifully on the body.

In contrast to the architectural precision of these pieces, the Eau series (see main picture above) invoked a softer, more flowing aesthetic. Inspired by the fluidity of water, the garments were made from transparent, draped fabric that shimmered with an aquatic quality. As models walked, the light refracted off the undulating folds, evoking the sparkle of sunlight glinting on a calm river. 

These garments emphasized a softness both in texture and in movement, giving the collection an ethereal, dream-like quality: a testament to the idea that paper, though often perceived as static, can also mimic the fluidity of nature.

One of the standout moments in the collection was the presentation of the Ease and Eased series, which paid homage to the traditional Japanese kamiko: clothing made from washi paper that dates back over a millennium. These pieces, crafted from a blend of hemp yarn, mohair, and wool, were designed to drape naturally over the body. 

The rawness of the hemp gives the garments an organic texture, while the mix of yarns provide warmth and depth to the otherwise light and airy silhouettes. The subtle color variations in the fabric emphasize the handcraftsmanship behind each piece, blending the historical significance of kamiko with contemporary design sensibilities.

In another nod to the past, the Hempen section showcased the use of hemp, a material that has been intertwined with both paper and clothing in Japan for centuries. These garments were not only a reflection on the durability and sustainability of hemp but also an exploration of its natural comfort and lightness. Dyed and coated to suit the demands of modern life, the pieces in this series balanced tradition with functionality, demonstrating Kondo's commitment to creating garments that speak to both Japanese heritage and modern living.

One of the standout moments in the collection was the Ease and Eased series, which paid homage to the traditional Japanese kamiko: clothing made from washi paper that dates back over a millennium.

The Wear and Worn designs,

the most playful and 

transformative in the collection.

But perhaps the most playful and versatile part in the collection was Wear and Worn, a conceptual experiment that blurred the lines between fashion and interaction. 

Utilizing seamless knitting technology, Kondo presented garments that could be worn in multiple ways, inviting wearers to engage with their clothing in new and unexpected manners. 

By reversing the front and back, or passing the body through different openings, each piece could be transformed into something entirely new, offering a sense of freedom and playfulness. This series encapsulates the storied Japanese fashion house's ethos: blending technology with craft, and innovation.

The beauty of Issey Miyake’s Spring/Summer 2025 collection wasn’t just in the garments themselves, but also in the meticulous attention to detail evident throughout the show. 

Further integrating the natural world into the collection, the Pressed Flora series featured delicate prints of spring flowers like peonies and ranunculus, their fragile beauty preserved as between the pages of a book. The pressing process resulted in slight creases across the fabric, mimicking the imperfections of nature. This deliberate technique emphasized the vulnerability and transience of the flowers, much like the fragility of paper itself.

The collection’s use of paper was not just limited to inspiration or symbolism. The Paper Bag series, inspired by everyday paper bags, utilized woven yarns made from washi flakes to create bags with the texture and lightness of paper, yet durable enough for daily use. These pieces exemplified the intersection of art and utility, a core tenet of the Issey Miyake’s philosophy. 

Utilizing seamless knitting technology, Kondo presented garments that could be worn in multiple ways, inviting wearers to engage with their clothing in new and unexpected ways

The Cloth and Cord pieces are

airy and light with a fluidity.

secured by cotton ropes.

The Cloth and Cord series stands out for its organic design, shaped from uncut fabric that evokes a raw, almost elemental aesthetic. This unrefined quality is accentuated by cotton rope laces that highlight the artisanal attention to detail. 

The blend of linen and stretch yarns is skillfully woven into a soft, pliable material, offering a light, airy texture. The fabric, gently gathered and secured with ropes, creates a fluid, relaxed drape that exudes a laid-back, yet crafted sophistication. The result is a collection that balances rustic simplicity with refined craftsmanship.

Closing the collection was the Shade and Shaded, where sheer fabrics folded diagonally and partially pleated created garments that oscillated between transparency and structure. The contrast of light and shadow, transparency and opacity, encapsulated the collection’s central theme: the duality of paper as both a delicate, ephemeral material and a tool of permanence and utility.

The Beauty of Paper is a collection that transcends the idea of fashion as mere clothing. It is a meditation on materiality, history, and craftsmanship, all framed within the context of our fast-paced world. 

By turning to paper ~ something so ubiquitous yet often overlooked ~ Satoshi Kondo invites us to slow down, reflect, and find beauty in the simplicity of the things that surround us every day. In doing so, the collection not only honors the past but also offers a glimpse into the future of sustainable and thoughtful design. 

See more highlights from the Issey Miyake SS25 collection in Paris below:

Gen Z Supports Sustainability and Fuels Ultra-Fast Fashion ~ How Does that Work?

Gen Z's shopping habits often fail to align with their values: they covet very affordable brand-new clothing yet they are aware of the environmental problems caused by ultra-fast fashion. 

By Marian Makkar, RMIT University and Amanda Spry, RMIT University

Generation Z has been called “the sustainability generation”.

Born between 1997 and 2013, 58% of this consumer cohort seek to buy products that are sourced sustainably. Australian Gen Zs say they are willing to pay more for brands that have a positive impact on society.

Yet, at the same time, we have witnessed the meteoric rise of ultra-fast fashion from online, direct-to-consumer retailers such as Shein, Temu and Boohoo. Shein alone generated US$32.5 billion (A$48.3 billion) in revenue in 2024 – a 43% increase from 2022.

There are complexities surrounding Gen Z’s shopping habits and how these often fail to align with their values.

On one hand, they covet a brand-new clothing item that is markedly more affordable when purchased from an ultra-fast fashion brand. On the other hand, they are aware of the environmental harms.

What explains this cognitive dissonance?

Caring about the environment …

Different from their predecessors, Gen Z has grown up with climate change as an urgent issue. Being chronically online means these concerns are not limited to their local environment.

Recent research revealed a pattern of stronger emotions of fear, guilt and outrage about the impacts of climate change among younger people, compared with older groups. These emotions could well be a driver of their activism and engagement with climate change.

They expect companies – those they buy from and work for – to prioritise sustainability in their business practices.

However, Gen Z crave more engaging ways to receive sustainability-related content. This is a worthy consideration for key players in the fashion industry.

… vs the temptation of fast fashion

Gen Z consumers are plugged into social media trends that appear with every scroll and swipe on TikTok and Instagram. Social media have spiked cultural trends that accelerate fast fashion.

Influencers promote “reps” (slang for replicas) and “dupes” (duplicates): cheaper, imitation versions of high-end fashion items. This is a way to democratise luxury by normalising “superfake” products and making luxury more accessible to a broader audience.

Social media tactics such as “hauls” and get-ready-with-me (“GRWM”) videos entice Gen Zs to get stuck on the treadmill of overconsumption. The idea is for content creators to show off massive amounts of new, trendy clothing. This in turn fuels the desire for consumers to continuously buy what they are seeing online – in bulk.

Fast fashion giants such as Zara and H&M have based their business models on translating what is on catwalks into cheap clothing, produced in mass quantities. Now, ultra-fast fashion brands such as Shein speed up the production cycle, the trend churn and consequently the volume.

Having seven trending items, over two high-quality outfits, makes more sense to Gen Z consumers in the digital age.

The cost-of-living crisis plays a part too. A recent survey of Australian Gen Zs revealed at least 77% are experiencing money concerns.

The biggest demographic to pull back on spending due to economic stress are 18–26-year-olds. Young people typically earn the lowest wages and enjoy less job security. These financial constraints are challenging to Gen Zs seeking to consume more sustainably.

Fast fashion becomes a cheap option for them to stay trendy without breaking the bank.

The ‘attitude–behaviour gap’

Gen Z are Shein shoppers, haul lovers, micro-trend followers, and repeat outfit shamers. This stands starkly against their eco-conscious values.

While this seems hypocritical, it is what is referred to as the attitude–behaviour gap – the incongruence between what people say and what they actually do. This is a phenomenon noted across multiple generations.

The attitude–behaviour gap has been widely documented in social psychology and ethical consumerism studies. These underscore that consumer intentions are not reliable predictors of behaviour.

Even ethically minded consumers do not always walk their talk. But we can’t expect individual consumers to be entirely responsible for things like the carbon footprint of fast fashion, or the exploitation of workers in factories.

The clothing industry lacks transparency in business practice and Gen Z consumers often lack information about the products they are buying.

The responsibility to shop sustainably should not fall solely on consumers, but on governments, policymakers and corporations to be more ethical.

Unsurprisingly, 88% of Gen Z shoppers do not trust companies’ sustainability claims.

What does this mean for the sustainability movement?

Despite climate change being a major stressor for Gen Z, the attitude–behaviour gap continues to exist when it comes to hunting for a new outfit.

Being bombarded with persuasive tactics from brands and influencers, the ease of access to new items at the click of a button, and the allure of affordable pricing amid a cost-of-living crisis makes it very difficult for even the most committed Gen Z consumer to buy ethically.

The fashion industry is one of the biggest dangers to the environment in terms of its carbon and raw material footprint, and truckloads of clothing ending up in landfills.

While most young people know and respect Greta Thunberg’s environmental mission, she is not the one they are watching on TikTok or liking on Instagram.

It is time to re-engage with social media content creators in different ways that educate consumers, promote responsible behaviour and advocate for changed regulations and business practices. This might include tried-and-true tactics such as influencer endorsements and haul videos that are refocused on more sustainable options – like online second-hand retailers.

The emergence of “underconsumption core” on TikTok in recent months, as well as “deinfluencing”, where influencers call on their followers to buy less, is promising.

While sustainable clothing has a “bad rap” for being expensive, fast fashion brands are trying to adapt by offering options such as H&M Conscious. Any fashion offering must be convenient, accessible and trendy to capture Gen Z’s attention and wallet.

Marian Makkar, Senior Lecturer in Marketing, RMIT University and Amanda Spry, Senior Lecturer of Marketing, RMIT University

Whimsical Worlds: Inside Florentina Leitner’s Enchanted Spring/Summer 2025 Collection

A Madonna of the Unicorn, one of the ethereal designs in the new collection by Florentina Leitner, shown in Paris. Main photograph above by Andrea Heinsohn.

Florentina Leitner's Spring/Summer 2025 collection is a homage to the enchanting world of The Last Unicorn. Inspired by the beloved 1982 animated film, the designer gave her runway a nostalgic ambiance combined with avant-garde flair. Her storytelling and sense of whimsy adds to the contrast of otherworldliness and contemporaneity in her work, writes Isabella Lancellotti. Photographs by Andrea Heinsohn

Fiery red symbolizing passion

and strength was a potent

motif in the collection

THE new collection by Florentina Leitner draws directly from the visual and emotional richness of The Last Unicorn, taking key moments from the unicorn’s journey as creative touchpoints. Leitner’s pieces are alive with the same ethereal charm and mystique, from the unicorn’s search for her lost kind to her transformative experiences as a human.  

These ideas are translated into the designs through an interesting use of materials: delicate lace and shimmering silks evoke a sense of fragility, while bold, screen-printed designs and laser-cut details echo the imagery of the Red Bull’s fiery menace.

Leitner’s use of unicorn-inspired prints, along with intricate 3D embellishments, immerses viewers in a world that is both mythological and contemporary, a world where fantasy is intertwined with high fashion. The designer's ability to weave a complex narrative into her creations is what sets her apart. 

Through her artful use of fabrics and forms, Leitner brings the film to life on the runway, capturing the dreamlike quality and the emotional depths of its story. “The Last Unicorn was a defining part of my childhood, and with this collection, I wanted to revive that sense of wonder and translate it into today’s fashion,” the designer explains. “It’s a dream to bring that magic back for a new generation while still honouring the film’s timeless beauty.” 

“The Last Unicorn was a defining part of my childhood, and with this collection, I wanted to revive that sense of wonder and translate it into today’s fashion.”

The Last Unicorn was the 

inspiration for the collection

Florentina Leitner’s collaboration with Peter S. Beagle’s team ensures ensured she had a real grasp of the story. Some pieces in the collection speak to the power of transformation and the quest for identity, much like the unicorn’s own journey. Diaphanous dresses contrast with more structured silhouettes, reflecting the duality of the character. the designer says. 

Bold dashes of color, inspired by the vivid animation of the original film, are strategically placed against softer, pastel hues to emphasize the tension between innocence and strength. 

Known for her signature floral motifs and feminine flourishes, Leitner’s collection is both playful and refined. Her expert craftsmanship is visible in details, with lightweight pieces that feel as though they could float off the runway.

The designer’s use of 3D flowers ~ a hallmark of her previous collections ~ is particularly striking in this offering, enhancing the fairy-tale allure while reinforcing the natural beauty central to the unicorn’s narrative. 

The result is a collection that is unmistakably Leitner: imaginative, daring, and rooted in an understanding of both fashion and storytelling. Since launching her eponymous brand in 2022, after graduating from the Royal Academy of Fine Arts in Antwerp, Leitner has made a name for herself with her distinct blend of semi-couture craftsmanship, whimsical femininity, and artistic vision. 

Known for her signature floral motifs and feminine flourishes, Leitner’s collection is both playful and refined

Unicorns and quixotic headscarves

added to the sense of  otherworldliness

Based in Antwerp, her ready-to-wear collections are produced in small artisanal factories in Italy. Leitner’s Spring/Summer 2025 collection reaffirms her place as a designer to watch, offering not only clothes but her own, particular world view.

In a fashion landscape that often feels dominated by trends and fleeting moments, Florentina Leitner’s latest collection stands out for its connection to a beloved story and its commitment to savoir faire. 

The SS25 line invites us to rediscover the sense of wonder we felt as children and to incorporate that kind of forgotten "magic" as part of our modern identity. Through this collection, Florentina Leitner wants to make fashion a potent form of storytelling, one that allows us to explore the complexities of who we are, where we’ve been, and where we’re going.

Scroll down to see more highlights from the collection in Paris