One of the Sixties style porthole hats in the eclectic new Prada SS25 collection in Milan
PRADA'S Spring/Summer 2025 collection in Milan, co-designed by
Miuccia Prada and Raf Simons, was a dynamic exploration of individuality and
the overwhelming nature of information in today's world. With each model
presenting a uniquely crafted look, the show was a celebration of personal
strength and style, breaking away from conventional fashion narratives. The
designers deftly blended vintage elements, such as Sixties porthole hats with modern sportswear, creating a striking juxtaposition of looks and eras. The result was a kaleidoscopic mix of sophistication, kooky details, and bold streetwear that left the audience guessing at
every turn amid the maze-like set of the show.
The unpredictability of the collection was its defining trait,
reflecting the constant bombardment of information we experience daily, whether
online or in urban life. Prada and Simons consciously avoided a singular theme,
instead offering clashing styles, aimed to resist the algorithms of social media. The playful nods to haute couture, with custom-made footwear and
intricate embellishments, added to the engaging mix. Ultimately, the collection
championed individuality, inviting each person to project their own style, while also showcasing Prada’s ongoing ability to
disrupt fashion norms with avant-garde yet wearable designs. ~ Antonio Visconti
Scroll down to see highlights of the Prada Spring/Summer 2025 Collection in Milan
Phrases from an essay on art and design by Clive Bell, one of the Bloomsbury Group, featured on new pieces in Anderson's SS25 collection in London
In a world saturated with over-the-top extravagance, JW Anderson’s Spring/Summer 2025 collection at London Fashion Week brought a refreshing, disciplined approach. By embracing limitations in materials and design elements, the Irish designer unlocked an unexpected sense of freedom, writes Antonio Visconti
Trompe l'oeil and striking weaving
added a note of complexity to
seemingly simple designs
JONATHAN Anderson's new collection was held amid the industrial grandeur of the Victorian former market, Old Billingsgate on the River Thames, transformed by architect Lord Richard Rogers in the 1980s.
This season the designer focused on a palette of silk satin, cashmere, calf leather, and sequins, with lace serving as the only decorative flourish.What could have been restrictive transformed into an exploration of modern femininity and playful aesthetics, where minimalist silhouettes and grand gestures coexisted in harmony.
The collection had a simple if not stark aesthetic, with streamlined silhouettes and pared-back materials. But a closer exploration, revealed intriguing contrasts: oversized knit stitches, inflated bows, and skirts drawn into perfect circles.
These bold, sculptural shapes juxtaposed with slim, figure-hugging pieces created an intricate dialogue between volume and structure. Anderson's careful manipulation of scale and material transformed everyday items like sweatshirts, sweaters, and bomber jackets into conceptual works of art. While his use of familiar shapes and fabrics may have seemed subdued, Anderson’s deeper message was anything but. This collection wasn’t just a design exercise, it was a statement on the state of fashion today.
Bold, sculptural shapes juxtaposed with slim, figure-hugging pieces created an intricate dialogue between volume and structure
A study in contrasts: a heavy, cable knit
with a strong pattern and a light, silken
dress embellished with fine lace
In an era of excess, Anderson called for simplification, urging the industry to refocus and reconsider its trajectory.
Yet, within these restrictions, he proved that creativity can still thrive, drawing on his signature techniques and weaving in references to his past work, all while looking ahead to the future of fashion.
Tough, independent femininity was a recurring theme, with Anderson drawing inspiration from the spirited camaraderie of young women, particularly his own sister and her friends.
The collection, from its sculptural dresses to playful argyle motifs, spoke to this sense of independence, a nod to the resilience and strength of women.
In a time when fashion is at a crossroads, JW Anderson's Spring/Summer 2025 collection feels like a rallying cry. It is a reminder that less can be more and that within limitations, true innovation can flourish.
See more highlights from Jonathan Anderson's SS25 collection below
Nicole Kidman in The Perfect Couple. Seacia Pavao/Netflix
By Andrew Dix, Loughborough University
“Nantucket!” exclaims Ishmael, the narrator of Herman Melville’s Moby-Dick (1851). “Look at it – a mere hillock, and elbow of sand; all beach, without a background.”
In Ishmael’s description, this island off the coast of Massachusetts in the north east of the US is a depleted, weathered place, scarcely distinguishable from the sea. It’s a location for hard and dangerous work, too, as the inhabitants venture into the “watery world” offshore to catch everything from mackerel to whales.
The version of Nantucket we see in The Perfect Couple, Netflix’s new six-part drama, is very different. Here it’s super-rich socialites, not salt-encrusted mariners, who occupy narrative space. They engage in conspicuous leisure, lounging poolside or circulating from party to party. Even Greer Garrison Winbury (Nicole Kidman), a highly successful writer of popular romances, is most often seen using her fingers to hold a wine glass rather than to hammer at a computer.
Adapted by Jenna Lamia from Elin Hilderbrand’s bestselling 2018 novel of the same name, and directed by Susanne Bier (perhaps best known for directing the BBC’s Le Carré adaptation The Night Manager in 2016), The Perfect Couple intertwines romance and mystery. The Winbury family gathers at its Nantucket beach house to celebrate the wedding of middle son Benji and his fiancée Amelia. A suspicious death occurs in episode one, leaving a tangle of erotic complication and forensic evidence that is unravelled across episodes two to six.
A cocktail of ingredients
A good deal of mixing, both authorised and transgressive, goes on in The Perfect Couple. Contrasting with the licensed partnering of Benji and Amelia, scandalous liaisons take place (many of them involving the groom’s father Tag: a person who has never done a day’s work, according to the local police chief, but someone with unbounded energy for sex, drink and drugs). Narcotics are dangerously combined in games of “prescription roulette” and blackberry mojito cocktails play a minor role in the plot.
All of this mixing and combining at the level of story is suggestive, for in its very composition The Perfect Couple is a synthesis of multiple pre-existing materials. It is put together itself rather in the manner of a cocktail.
Take one part Succession (for fraught family drama), one part The White Lotus (for glamorous setting) and one part Big Little Lies (for Nicole Kidman’s star presence). Mix liberally with Rian Johnson’s duo of detective films Knives Out and Glass Onion (for murderous intrigue among the super-wealthy). Finish with a generous glug of Agatha Christie: there’s a knowing nod towards this influence in episode three when Greer discloses that she had “an Agatha Christie obsession”.
The Perfect Couple’s weakness, however, is that it resembles these precursors only cosmetically, failing to carry across what makes them compelling or memorable. No equivalent is offered for the startlingly inventive language of Succession, say, or the graphic sexuality of The White Lotus.
And while The Perfect Couple could easily be retitled Christie-style – Murder on Nantucket Sound, perhaps? – the series underwhelms also as murder mystery. The police station’s doors revolve rapidly in episodes five and six, as multiple suspects are questioned; yet the interrogations lack jeopardy or tension (even, at times, plausibility). The plot is complicated, certainly, but in the final analysis un-nourishing – rather like the oyster canapes served at a Winbury party.
The view from inside
Traces of another forerunner can be detected in The Perfect Couple. Confronted by its drama of the super-rich in maritime New England, and the unravelling of financial, romantic and criminal strands, viewers may find themselves thinking of F. Scott Fitzgerald’s The Great Gatsby (1925).
In comparing The Great Gatsby and The Perfect Couple, however, it is instructive to consider the question of perspective. Nick Carraway, Fitzgerald’s narrator, brings an outsider’s critical eye to bear on the wealthy world he encounters. If he sometimes swoons – taken in momentarily by “floating rounds of cocktails”, by “the champagne and the stars” – he is usually attentive to the exploitation, even the violence, that underpins such luxury.
By contrast, The Perfect Couple does not emerge from sardonic or abrasive assessment of the super-rich realm it documents. There are candidates for the outsider role occupied by Nick in The Great Gatsby: the detectives investigating the murder, perhaps, or Amelia herself, someone not born into wealth but previously a worker at a zoo (helpfully specialising in snakes). Yet any jaundiced observations they offer are fleeting, not sustained.
Instead, the wealthy in The Perfect Couple are usually viewed from the inside. The housekeeper herself has internalised the master’s perspective. And when, in episode five, the camera makes a rare foray into the catering kitchen, it is not to access the views of unprivileged folk but to find a spot for makeup sex between Amelia and Benji.
Before each episode of The Perfect Couple are ads for Chanel perfume. Ultimately, ad and series share a worldview, putting expensive things on display for our gratified gaze. When the murder is finally shown, the victim is immaculately turned out as they breathe their last. Not even violent death can be seen to ruffle this moneyed part of Nantucket.
Andrew Dix, Senior Lecturer in American Literature and Film, Loughborough University
By Emma Shortis, RMIT University and Matthew Ricketson, Deakin University
Emma Shortis, Adjunct Senior Fellow, School of Global, Urban and Social Studies, RMIT University and Matthew Ricketson, Professor of Communication, Deakin University
Amelia Gray wears the new AW24 Pucci body-hugging activewear in the fashion house's print.
Pucci’s Autumn/Winter 2024 collection, under the creative
direction of Camille Miceli, delivers an exhilarating burst of color and style,
aptly titled Parade. With Amelia Gray as the face of the campaign,
the collection marches to a rhythm of its own, blending Pucci codes
with fresh energy. Miceli has crafted a visual kaleidoscope where prints collide
with sleek silhouettes, and urban polish meets romantic pop-rock. This season
is all about freedom, boldness, and playful sophistication, writes Antonio Visconti. Photographsby Johnny Dufort
Vibrant colour and Pucci prints
pop when contrasted against black
CAMILLE Micelihas infused Pucci’s signature exuberance with
a dynamic twist in the Parade collection, drawing from two
seemingly contrasting inspirations: the opulent stage costumes of Prince and
the ethereal grace of figure skating attire.
This interplay between flamboyance
and fluidity defines the collection, which deftly balances masculine and
feminine elements.
From taffeta balloon sleeves and A-line skirts to sleek
jersey dresses trimmed with iconic Pucci prints, the collection embraces a wide
array of silhouettes.
Ultra-slim suits shimmer with glittery stripes, while
body-hugging statement pieces echo the activewear aesthetic. It’s a playful
dance of structure and fluidity that captures the essence of contemporary
glamour.
A Trio of Moods: City, Sea and Sunset
Miceli’s new collection traverses three
distinct stylistic moods. Late Summer in the City kicks off the collection with
a bold reintroduction of the Orchidee print, alongside Pucci classics like
Marmo and Iride. These rhythmic, colorful patterns are set against dark
backdrops, highlighting their energy in a cityscape setting. Fluid jersey tops,
tailored trousers, and dresses with halter and high-neck styles bring a sense
of movement and urban sophistication.
Fluid skirts in pinks and black
are striking yet relate back to
Pucci's storied design past
High Summer by the Sea offers a playful, sun-drenched vibe
with a palette of juicy oranges, pinks, and limes. These beachy pieces exude
effortless cool, featuring breezy caftans, sleeveless draped tops, and
asymmetrical swimsuits.
Signature Pucci motifs such as Orchidee and Festa take
centre stage on light, flowing garments made for resort life and tropical
getaways.
Finally, Urban Sunset ushers in an arty, feminine
sensibility with blush pinks and blacks. Embellished knits and frilled tops are
paired with fluid skirts, while the collection’s Marmo-inspired denim gets a
refresh. This theme nods to the world of dance, with a sense of poised movement
and elegance.
Accessories to Elevate the Everyday
Pucci’s collection is not just about clothing ~ it’s a
complete lifestyle. The accessory lineup delivers standout pieces, including
the Jewel sandal with feathers and pearls, and black utility boots adorned with
foulard details. The Yummy shoulder and bucket bags come in colorful hues suited for daily use, while a sleek weekend carryall and sophisticated evening
clutch round out the collection’s handbags.
Jewellery plays an imaginative role, too. A shell sautoir
doubles as a pill case, and a brass lighter pendant is engraved with Pucci’s
signature Marmo curves. A striking brass multi-finger ring with a feather
motif, along with a sparkling ear cuff, are the final touches that add a whimsical note.
The Pucci Lifestyle: Beyond Fashion
Camille Miceli ensures the Pucci world extends beyond
the runway. The Parade collection introduces unique lifestyle
products, from custom playing cards to luxurious dog accessories like plush
beds and outerwear.
Playful yet practical, these items, including Marmo-covered
alarm clocks and paddle rackets, reflect Pucci’s commitment to fusing past and
present with a wink towards the future.
With the latest collection, Miceli has cleverly revived Pucci’s iconic heritage while propelling it into a new era
of expressive, joyful design. Each piece, from the flamboyant prints to the
innovative accessories, tell a story of exuberant creativity and individuality.
See highlights from the Autumn/Winter 2024 Pucci collection below
