Rich damasks and cashmere added warmth and depth to Uma Wang's new collection in Paris. Photograph and masthead cover by Ell Ioannou
Uma Wang’s Autumn/Winter 2025 collection shown at Paris Fashion Week is a testament to her ability to merge historical inspiration with modern sensibilities. In this season’s offering, the designer draws from art, history, and the transformative power of fashion, using silhouettes and textiles to explore the ways in which clothing defines the body, writes Antonio Visconti. Photographs by Elli Ioannou
Volume and an earthy
palette were key motifs
in the new collection
THE latest collection from Uma Wang draws its inspiration from Piero della Francesca’s Madonna del Parto, a rare Renaissance depiction of a pregnant Virgin Mary. This reference serves as a launching point for the designer's broader study of femininity and the fluid dialogue between past and present.
The new work explores volume and proportion, revisiting classic tailoring techniques while challenging conventional silhouettes. Wang’s designs play with expansion and contraction: exaggerated hips, cinched waists, elongated torsos, and padded forms create an interplay of shape that recalls historical garments without feeling costume-like.
Rather than adhering to strict period references, she abstracts these elements, allowing them to evolve into contemporary constructions that highlight movement and grace. Her garments are sculpted yet fluid, demonstrating a deep understanding of how fabric interacts with the body.
Texture plays a crucial role in Wang’s designs this season, as she experiments with fabrics that carry both weight and airiness. Double-faced cashmere, rich damask, and structured linen blends provide a sense of depth and warmth, while raw-edged silk pleats and deconstructed embroidery introduce an intentional fragility. The earthy palette, soft neutrals gradually shifting into inky blacks, creates a visual harmony that ties the collection together, ensuring that even the most dramatic pieces remain grounded. The juxtaposition of fitted and oversized tailoring further enhances the collection’s exploration of proportion.
Wang’s outerwear, ranging from structured bouclé coats to hybrid trench-cape silhouettes, envelops the wearer in voluminous layers, contrasting with the sleek yet architectural underpinnings. Wide, cocoon-like parkas provide balance to sculpted skirts and flowing trousers, offering a contemporary take on protective dressing. Elsewhere, oversized blazers appear twice the size of the body inside them yet remain effortlessly elegant due to their precise tailoring.
Uma Wang’s designs play with expansion and contraction: exaggerated hips, cinched waists, elongated torsos, and padded forms recall historical garments without feeling like costumes
A mix of traditional craftmanship
and modern experimentation
One of the most striking elements of the collection is Wang’s use of layering and unexpected fabric combinations. A standout look features a mohair jacquard jacket and underskirt, layered with a contrasting full skirt, half in a vintage floral print, half in meticulously pleated silk.
This mix of old-world craftsmanship and modern experimentation captures Wang’s ability to blend nostalgia with a forward-thinking approach. Additional details, such as column dresses with distressed hems and unfinished edges, reinforce the theme of reinterpretation, proving that imperfection can be just as compelling as precision.
Beyond the garments themselves, Wang’s collection speaks to a broader conversation about presence, space, and the ways in which women carry themselves. The voluminous shapes are not about overwhelming the wearer but rather about creating a sense of elegance through movement and gesture.
Wang’s stated themes ~ gesture, femininity, and manners ~ manifest in the way the clothes encourage fluidity, poise, and a quiet confidence. Her approach to fashion is not about overpowering statements but rather about nuanced storytelling through fabric, form, and detail.
The designer's meticulous craftsmanship, innovative use of fabric and transformation of proportions make this a compelling collection
Contemporary accessories
enhanced the interplay
of past and present
Accessories and styling choices further enhance this
interplay between past and present, including the sculptural silver jewelry and floral headscarves which create an aesthetic that feels timeless yet contemporary. These elements add depth to the collection, reinforcing its narrative of history reinterpreted through a modern lens.
With Autumn/Winter 2025, Uma Wang presents a considered collection that celebrates the art of dressing while embracing the evolving language of fashion. Her meticulous craftsmanship, innovative use of fabric and thoughtful way of transforming proportion make this one of her most compelling seasons to date.
Through this collection, she invites the wearer to engage with clothing as a form of self-expression, a means of storytelling, and an exploration of the fluidity of femininity across time. The result is a wardrobe that is both intellectual and intuitive, anchored in history, yet undeniably relevant for today.
A soigne black gown at Magda Butrym's new show in Paris. Photograph and masthead cover by Elli Ioannou for DAM
At Paris Fashion Week, Magda Butrym unveiled a collection that intertwines traditional craftsmanship with contemporary design. Drawing from Poland’s rich textile traditions, particularly the art of weaving, the Autumn/Winter 2025 collection reinterprets artisanal techniques, with an emphasis on texture, structure, and femininity. The new work highlights the Polish designer's dedication to handcrafted artistry while exploring themes of identity and self-expression, writes Antonio Visconti. Photography by Elli Ioannou
Magda Butrym's show was held amid
an immersive textile installation
ARTISTIC textiles, particularly weaving and knitwear, have long played a significant role in Polish culture. Magda Butrym’s latest collection embraces these elements, blending intricate handwoven fabrics with modern silhouettes.
The designer pays homage to the skilled artisans who have shaped Poland’s artistic landscape, referencing figures like Magdalena Abakanowicz and Paulina Ołowska, both of whom transformed fabrics into powerful forms of artistic expression. This deep cultural connection serves as the foundation of the collection, influencing not only the garments but also the immersive environment in which they were presented.
“This collection is an instinctive, fearless exploration of self ~ driven by pure emotion and the joy of creation,” Butrym explains Unlike previous seasons, with their romantic embellishments and vintage style, this collection embraces a more experimental, tactile approach. The incorporation of handwoven elements, natural fibers, and artisanal detailing reflects a designer who is not only honoring her roots but also pushing her craft in new directions.
“This collection is an instinctive, fearless exploration of self ~ driven by pure emotion and the joy of creation,”
Handcrafted dresses made from
interwoven yarns,sculpt the body
The show's setting was an extension of this artistic vision, transforming the space into an immersive installation. Handwoven linen and alpaca fabric were suspended from the ceiling, creating a diaphanous ambiance that enveloped the models as they walked.
The fabrication process alone required hours of meticulous handwork, including warp winding, threading, and precise hand-tying techniques.
The final result was a floating, sheer landscape of interwoven materials, reinforcing the collection’s emphasis on craftsmanship and femininity. The deep red hue of the textile installation referenced the Enchanted Rose, a signature motif of Butrym’s label, adding a layer of symbolic meaning to the environment. As models moved through the space, their presence animated the setting, bringing the themes of movement, texture, and a certain Slavic expressionism to life.
The show's setting was an extension of artistic vision, transforming the space into an immersive installation
The beautifully-constructed
red mini-dress with layered
knitting techniques
A striking interplay of textures runs throughout the collection, showcasing Butrym’s ability to balance softness and structure. Handcrafted dresses made from interwoven yarns sculpt the body with an almost architectural precision. A bold red mini dress, meticulously constructed with layered knitting techniques, exemplifies this fine artisan work.
An open-knit tutu, paired with a sleek black slip, evoked the contrast between delicate transparency and structured form. The collection’s finale look, a wedding gown with a crochet veil, embodies Butrym’s commitment to handmade artistry.
The silhouette, reminiscent of traditional Polish tapestries, is given a modern reinterpretation with its voluminous, petal-like layers and textural depth. Kept in a pure white palette, the gown symbolizes new beginnings and creative exploration.
Beyond intricate knitwear, the collection integrates elements of Slavic heritage, reimagining traditional Polish dress in contemporary fashion. Sculpted black dresses with exaggerated waistlines and voluminous skirts nod to folk costume influences while remaining distinctly modern. Accessories such as floral headscarves, an iconic element of Slavic fashion, make an appearance, reinforcing the collection’s ties to cultural identity. This fusion of past and present echoes Butrym’s broader aesthetic, where nostalgia and modernity coexist.
A striking interplay of textures runs throughout the collection, showcasing Butrym’s ability to balance softness and structure
Sculptural outerwear was a
highlight of the collection
In addition to drawing from historical dress, Butrym takes inspiration from powerful imagery, particularly the work of legendary photographer Peter Lindbergh. His evocative black-and-white portraits of women, often standing against vast, windswept landscapes, capture a quiet strength and an unfiltered beauty that resonates with the designer's vision.
The collection’s sculptural outerwear, including oversized shearling coats draped effortlessly over refined ensembles, channels a similar sense of power and confidence. These voluminous yet elegant pieces create a striking juxtaposition between structure and fluidity, reinforcing the duality of Butrym’s designs.
Butrym’s use of layering further enhances the narrative of the collection. Shawls drape over duvet jackets, while raw shearling coats contrast with the delicacy of silk. This interplay between protection and exposure mirrors the broader theme of duality that runs throughout the work. The garments are at once strong and ethereal, structured yet fluid, suggesting the complexity of contemporary femininity.
Though personal in its themes, the collection remains true to the ethos that has defined Butrym’s label since its inception. She continues to refine her signature blend of minimalism and sensuality, strength and fluidity, tradition and modernity. While this season’s designs embrace a more avant-garde approach, they remain rooted in her core identity as a designer who values craftsmanship and authenticity above fleeting trends.
Along with intricate knitwear, the designs integrate elements of Slavic heritage, reimagining traditional Polish dress in contemporary fashion
The finale wedding gown
with a crochet veil and
textural richness
The choice to name the collection Magdalena adds another layer of meaning. Drawing from her full first name, Butrym infuses this season’s work with an intimate self-reflection.
It is a statement of identity, not only as a designer but as an artist exploring new dimensions of her creativity. The collection marks a shift in her trajectory, one that is guided more by instinct and emotion.
Her new designs demonstrate that fashion can be a bridge between past and present, private and public and traditional savoir faire and contemporary innovation.
As Magda Butrym continues to evolve as a designer, this season’s collection shows how she understands the value of artistry and the ability to tell a story through fabric and form. By weaving these elements together, her body of work feels both of its time and forward-thinking.
Scroll down to see more highlights from Magda Butrym's Autumn/Winter 2025-26 show in Paris
From left, Oscar winners Adrian Brody, Mikey Madison, Zoe Saldana and Kiernan Culkin in the Acacdemy Awards press room.Masthead cover picture by Elli Ioannou for DAM
By Harriette Richards, RMIT University; Ari Mattes, University of Notre Dame Australia; Gregory Camp, University of Auckland, Waipapa Taumata Rau; Stuart Richards, University of South Australia, and Tom Clark, Victoria University
In a year with few surprises in the awards categories, there was also a dearth of surprises on the red carpet. The sartorial themes included sparkling metallics, coloured menswear and bows, bows and more bows.
Metallic gowns that resemble the Oscar statue are a familiar sight at the Academy Awards and this year was no different. Some of the standouts included best actress nominee Demi Moore in a magnificently glittering silver Armani Privé gown, Selena Gomez in custom Ralph Lauren encrusted with 16,000 individual blush-toned jewel teardrops, and Emma Stone in a minimalist Louis Vuitton sheath covered in iridescent fish scales.
Lupita Nyong’o, best actress winner Mikey Madison, Felicity Jones and Elle Fanning all wore bows at the waist. Jordan Strauss/Invision/AP, AP Photo/Chris Pizzello
In the menswear category, tuxedos reign supreme. This year was notable only for the diversity of colours in which these suits came.
Best actor nominee Timothée Chalamet lived up to his reputation for monochrome, richly hued ensembles in a custom butter yellow leather suit by Givenchy, paired with a matching silk shirt and delicate neck brooch in place of a tie. His best actor nominated compatriot, Colman Domingo (one of the best dressed men in Hollywood) was pristine in a double-breasted red silk jacket with black lapels, black trousers and matching red shirt by Valentino, similarly eschewing a tie in favour of a fine gold brooch. Andrew Garfield wore louche chocolate brown Gucci and Jeremy Strong wore a suit by Loro Piana in an unusual tone of olive green.
Andrew Garfield, Timothée Chalamet Colman Domingo and Jeremy Strong in colour. Jordan Strauss and Richard Shotwell/Invision/AP, EPA/David Swanson
Bows of varying size and stature were perhaps the strongest theme of the night.
Best actress winner Mikey Madison in black and pink Dior, best supporting actress nominee Felicity Jones in shimmering liquid silver Armani, Elle Fanning in white and black Givenchy and Lupita Nyong’o in white Chanel were all adorned with bows at their waists.
Lupita Nyong’o, best actress winner Mikey Madison, Felicity Jones and Elle Fanning all wore bows at the waist. Jordan Strauss/Invision/AP, AP Photo/Chris Pizzello
The most remarkable bow of the night though was best actress nominee Cynthia Erivo in a structured deep emerald-green velvet Louis Vuitton gown, the broad, wing-like sleeves of which were crafted as a bow.
Cynthia Erivo wore the most remarkable bow of the night. Jordan Strauss/Invision/AP
Notable mentions must also go to those attendees who do not fit neatly into any thematic category. Best supporting actress nominee Ariana Grande wore a meticulously crafted pale pink Schiaparelli confection and Lisa (of Blackpink and now White Lotus fame) perfected a feminine take on masculine suiting in a tuxedo dress by Markgong.
Peter Straughan, Kayo Shekoni and Guy Pearce all chose to wear political statements. Jordan Strauss/Invision/AP, EPA/Caroline Brehman
The only real surprise was the lack of political statements on display. Unlike recent years, when pins and ribbons in support of Ukraine and Palestine were widely worn, this year only Guy Pearce was spotted wearing a Free Palestine pin, Conclave writer Peter Straughan wore a Ukrainian flag pin and Kayo Shekoni had “free Congo” emblazoned on the sole of her high heels.
– Harriette Richards
The best picture: Anora
And the best picture Oscar goes to … Anora – the film that was favoured to win, so no surprises here.
Though he had been working for more than a decade at the time, writer-director-editor Sean Baker came onto the independent movie scene with a bang with 2015’s Tangerine, a gimmicky film that was mainly celebrated for being shot on an iPhone. Why this would be celebrated is anyone’s guess. I suspect it’s because of the “I could do it too” factor – something the average person certainly couldn’t say if we’re talking 35mm celluloid.
Since then, Baker’s films have relished in embracing the digital, neon world, but always in a kind of sentimental and shallow, rather than critical, register. None of his films are awful – and maybe that’s saying something in this day and age. Anora also is not awful, but it’s not particularly memorable either.
Anora follows a run of the mill American dream-type story about a hard-working stripper who seems to strike fairytale gold when a young, fun Russian oligarch falls in love with her. Only the dream turns out to be more of a nightmare (kind of) when things don’t quite work out and the film ends with the titular character once again independent and free.
The idea of undercutting the fairytale setup of the typical rom-com is not at all original, and the film strikes me as even more schmaltzy in its rejection of the fairytale dream than if it had embraced it and played like a tween-focused Nickelodeon film (it’s about as poignant as this).
The film’s cardinal sin, however – and it’s certainly not alone in this – is its critical overlength. Each of the film’s sections could have had some 20 minutes cut and we would have had an enjoyably tight romp at 80 minutes. Instead, Anora drags on, swept up in its imagining of its own profundity – at times pretentious, but mainly tedious.
– Ari Mattes
Not the year to stick a neck out
The speeches this year were conspicuously meek. No announcer majorly insulted anyone else. No winner assaulted anyone else. Even the James Bond retrospective lacked energy. What’s going on in Hollywood?
There are clues that help explain this curious flatness. Host Conan O’Brien mentioned the pressure of “divisive politics” while reflecting on California’s wildfires. Several winners spoke about the importance of shared experience, of what unites us, of film as a medium that brings people together, a force for “good and progress in the world” and “a reminder not to let hate go unchecked”.
The directors of No Other Land, receiving their Oscar for best documentary, shared the one clear critical voice. Palestinian Basel Adra wished his newborn daughter a life without the fear that governs daily life in his homeland. Israeli co-director Yuval Abraham agreed: “There is another way. It’s not too late for life and for the living. There is no other way.”
However, that was the only moment people at the Oscars seemed willing to confront the political elephant in the room.
Anora director Sean Baker used his last (of four!) acceptance speeches to compel more people to help keep cinema doors open. He made his point passionately: this was the best way to sustain an industry that could continue to make brilliant movies. That said, the most emotive speeches of past Oscars events went much further than just commenting on the bread and butter concerns of the film industry.
This year, there were more clues in what people did not say. There were feints at Russian dictators – but nobody mentioned the war in Ukraine. There was no discussion of a certain election result, nor of filmmakers’ fears that Washington is now in the control of a governing faction that loathes them. Most revealing of all: nobody raised a peep about the President or his friends.
Hollywood’s collective discipline was on show tonight – and 2025 is not the year to stick a neck out.
– Tom Clark
A banner year for independent film
Independent films were the big winners for this year’s Oscars. While many of the technical awards went to the big budget films, such as Wicked (the US$145 million film won costume design and production design) and Dune: Part 2 (made at a budget of US$190 million, and winning sound and visual effects), the night’s major awards went to small productions.
While the definitions of “independence” and “studio” films don’t exist in a neat binary when it comes to production and global distribution, we can distinguish between film juggernauts and smaller films.
Three independent films won significant awards that are of note. Latvian film Flow was the first independent film to win best animated feature, up against major films Inside Out 2 (Pixar Films) and The Wild Robot (DreamWorks).
The film follows a cat, a dog, a capybara, a secretary bird and a ring-tailed lemur navigating a post-apocalyptic world with rising sea levels. The film also only used free and open-source software Blender and mostly used sounds from real world counterparts of the various characters. It was made for a budget of just €3.5 million (A$5.9 million).
Gints Zilbalodis, Matiss Kaza, Ron Dyens and Gregory Zalcman won the award for best animated feature film for Flow. Jordan Strauss/Invision/AP
The best documentary film nominees were dominated by independent films. Notably, the winner No Other Land has sadly been unable to find a distributor to release the film in the United States. (It is available for streaming in Australia on DocPlay, and in select cinemas.) The film was only eligible because the Film Lincoln Centre in New York facilitated a one-week, qualifying theatrical run.
The night’s top glories went to Anora, made on a budget of just US$6 million (A$9.7 million) and taking home the awards for best film, director, actress, screenplay and editing.
In his acceptance speech for best director, Sean Baker spoke of the importance of films getting a theatrical release. Films, he said, are about humanity – and that is best experienced in watching a film with other people.
During awards season, Baker has often spoken about the importance of small budget films in the expression of core human experiences.
The final message of the night went to Baker when he thanked the Academy for recognising a truly independent film: “Long live independent film!”
Indeed, independent films ruled this year’s Oscars.
– Stuart Richards
Best actor and actress
Mikey Madison, who won the best actress award for Anora, is quite good in the role. That said, it’s difficult to evaluate her performance in such a meandering film.
She tries hard playing a stripper who falls for Prince Charming – a Russian oligarch (Hollywood’s anti-Russian sentiment has certainly grown in recent years) who turns out to be a bit of a weakling with meanie parents. But Madison never really convincingly embodies the character, and we’re ever aware as we watch the film that she’s an actress working her way through relevant emotions and intensities.
That said, Madison is good at yelling and stripping, and this is the main way she shows her chops here. She screamed well in Once Upon a Time… in Hollywood (2019), too. The bar this year was admittedly pretty low, and truth be told Madison’s performance in Anora (aside from Fernanda Torres for I’m Still Here) is probably the best out of the nominees.
Adrien Brody and Mikey Madison pose with Zoe Saldana, winner of the Best Actress in a Supporting Role and Kieran Culkin, winner of the Best Actor in a Supporting Role. EPA/Caroline Brehman
In contrast, Adrien Brody, who won the best actor award, is absolutely unforgettable in the flawed but magnificent The Brutalist – the best he’s been since The Pianist, and the deserved winner by a mile out of a similarly mediocre field. Brody is simply a pleasure to watch, and drives, in a wholly embodied way, this grandiose and exceedingly long film (the fact it doesn’t feel long is largely due to his magnetism).
The screenplay, in which the character comes across as a combination of arrogant, sweet and at times comedic, allows Brody to display the full range of his talent, and he plays the whole thing with an endearing vulnerability. But, again, it’s unfair to compare Brody and Madison – The Brutalist is a spectacularly accomplished cinematic epic, while Anora feels as stylish and profound as a social media video (I know that’s the point, but that doesn’t make it any more compelling).
– Ari Mattes
A lacklustre year for music
This was a strong year for music-based films, with three of the most nominated ones being musicals of various types: the big-budget Broadway adaptation Wicked, the original film musical Emilia Pérez, and the musician biopic A Complete Unknown.
The music of the ceremony itself was nicely assembled, with a live orchestra (conducted by Michael Bearden) accompanying proceedings from above the stage.
Clement Ducol, Camille and Jacques Audiard accept the Oscar for best original song for El Mal. EPA/Allison Dinner
But the show was marred by an absence: the best song nominations were not performed live. The new songs this year were so bland, however – especially when compared to the Wicked score and Bob Dylan – that I can hardly blame the producers. The nominations included a dull Elton John song, some soft guitar rock from Sing Sing, Diane Warren’s 16th (!) nominated song (more soft rock), and two forgettable songs from Emilia Pérez (one of which, El Mal, was the winner).
So little faith did the Academy have in the songs that only a few seconds were played from each, mostly covered by a montage of interviews with the songwriters.
Daniel Blumberg won the Oscar for best original score for The Brutalist. AP Photo/Chris Pizzello
This year’s nominated best scores were not much more memorable, but Daniel Blumberg deserved his win for The Brutalist. It demonstrates a high level of composition and orchestration craft. It uses edgy instrumental textures to increase the feelings of uncertainty and imbalance that the film imparts.
The show included a lot of Wizard of Oz. Ariana Grande sang Over the Rainbow from the 1939 film and Cynthia Erivo sang Home from The Wiz, the 1974 soul musical based on the book. Then they performed Defying Gravity from Wicked together.
Another subtle Wizard of Oz nod was the music played during the commercial breaks: a loop based on Brand New Day from The Wiz, whose 1979 film version had its music produced by the late Quincy Jones. Queen Latifah and backup dancers brought some much-needed energy to the last hour of the ceremony with Ease on Down the Road, also from The Wiz, as part of a Jones tribute.
One surprise was an unnecessary but enjoyable James Bond sequence featuring Margaret Qualley dancing to John Barry’s famous theme, a performance of Live and Let Die by K-pop star Lisa, Doja Cat singing Diamonds Are Forever, and Raye’s rendition of Skyfall.
This plus the various numbers from the Oz Musical Universe only highlighted how lacklustre this year’s nominated music was.
– Gregory Camp
Harriette Richards, Senior Lecturer, School of Fashion and Textiles, RMIT University; Ari Mattes, Lecturer in Communications and Media, University of Notre Dame Australia; Gregory Camp, Senior Lecturer, School of Music, University of Auckland, Waipapa Taumata Rau; Stuart Richards, Senior Lecturer in Screen Studies, University of South Australia, and Tom Clark, Chair of Academic Board, Victoria University
The cool girl vibe at Dolce & Gabbana< mixing a shearling jacket with a lacy camisole, cargo pants and a beanie, Masthead cover picture by Elli Ioannou for DAM
DOLCE & GABBANA'S Autumn/Winter 2025 ready-to-wear
collection in Milan redefined the label’s vision of a glamourous streetstyle. Called
Cool Girls, the new collection of seventy-eight looks exchanged last season’s paparazzi-inspired
theatrics for a grittier, more rebellious aesthetic.
The show opened with shearling-lined outerwear ~ oversized
parkas and structured bombers ~ layered over delicate lace camisoles and
barely-there bralettes. Paired with slouchy cargos and knee-high leather boots,
the looks exuded a nonchalant confidence. Military influences surfaced in
utilitarian details, while the oversized, cuffed beanies reinforced the
winter-ready aesthetic.
The rugged edge of the daywear softened into diaphanous evening wear. Crystals caught the light on slinky slip dresses,
shifting the mood from grunge to underground glamour. Denim and leopard print
pieces evoked the brand’s past while embracing modern sensuality.
The spectacle didn’t end on the runway. Models spilled onto
the Milanese Street, joining an impromptu daytime party, their layered ensembles a
celebration of retro D&G style. ~ Isabella Lancellotti
Scroll down to see the top ten highlights from the Dolce & Gabbana AW25 show in Milan
In attenuated blues, a portrait is depicted on a dress in Erdem's AW25 collection at the British Museum in London.
Beneath the soaring glass roof of the British
Museum's Great Court, Erdem Moralioglu unveiled a collection that felt like a whisper from
the past: haunting, poetic, and deeply personal. This was not just fashion but a meditation on memory, brought to life
through collaboration with artist Kaye Donachie, writes Isabella Lancellotti. Photography by Jason Lloyd Evans
Column dress with portrait in
hand-embroidered organza
appliqué at the Erdem show
A HUSH fell over the audience, as the first model descended the grand, curving staircase that wraps around the British Museum's Reading Room, draped in a gown that bore the imprint of a
portrait, a visage rendered in attenuated blues, the delicate brushstrokes dissolving into the fabric like a half-remembered dream.
It was an image imbued with both
nostalgia and abstraction, a poetic echo of memory. This moment, opening Erdem
Moralioglu’s Autumn/Winter 2025 collection, set the tone for a show that
blurred the lines between fashion and fine art, reality and recollection.
At the heart of the collection was Erdem’s collaboration
with British artist Kaye Donachie, a painter known for her moody, atmospheric
depictions of women: figures from history, memory, and imagination, rendered
with an ethereal touch.
Their partnership was rooted in personal
history. Both artists studied at the Royal College of Art, but it wasn’t until much later that their creative paths intersected when Erdem commissioned
Donachie to paint a portrait of his late mother. That experience, and the way
Donachie conjures past lives through paint, became the catalyst for this evocative collection.
Together, designer and painter conjured garments that blurred the line between art and attire, history and imagination, each piece a canvas, each silhouette a brushstroke in a collection that lingered in the mind long after the final look had vanished into the museum’s shadows.
At the heart of the collection was Erdem’s collaboration with artist Kaye Donachie, a painter known for her moody, atmospheric depictions of women
Peplum jacket with exposed
seams and a sculptured full
skirt in tweed and sequins
The show explored the idea of clothing as a canvas both
literally and metaphorically. Donachie’s art was transposed onto garments, not
as direct reproductions but as emotional traces. Her portraits appeared on
engineered prints, organza appliqué, and even hand-painted leather accessories.
Some pieces played with the concept more subtly: a fitted bodice in bonded
canvas with hand-painted detailing, a sculptural coat that carried the
impression of an artwork layered within its folds.
The collection’s silhouettes were a study in contrast: bold,
architectural forms softened by diaphanous textures. Erdem’s signature feminine
aesthetic remained intact, but with an added depth. Column dresses featured
slashed necklines, a subtle nod to the fragmented nature of memory. Cocoon
coats enveloped the body in textured cloqué and glossed sequins, while
bell-shaped skirts and draped bodices suggested movement, as if caught
mid-brushstroke.
The color palette felt at once subdued and charged with
emotion. Deep, inky blues and ghostly greys recalled Donachie’s atmospheric
paintings, while delicate antique pinks and muted apple greens brought warmth
and romance. In some instances, abstract floral prints overlaid technical
satins, resembling faded blooms pressed between the pages of an old book.
Accessories also played a crucial role in tying the
collection to its artistic roots. The Bloom bag, one of Erdem’s signature
styles, was reimagined in hand-painted iterations by Donachie herself. These
small yet striking pieces reinforced the theme of wearable art, offering an
intimate, tangible link between the painter’s brush and the wearer’s hands.
The collection’s silhouettes were a study in contrast: bold, architectural forms softened by diaphanous textures
Soigne black cloque dress with
applique rose detail in white
While the collaboration with Donachie provided a conceptual
backbone, the execution remained quintessentially Erdem. Tailoring was sharp,
particularly in the flannel pinstripe suits and sculpted coats, which balanced
the collection’s more fluid, painterly elements. Delicate lace and fil coupé
jacquard added a sense of timeworn beauty, as if these garments had already
lived past lives of their own.
Erdem has long been fascinated by historical narratives,
often drawing from forgotten or overlooked figures. This season, however, the
storytelling took on a more personal resonance.
The references weren’t to a
specific muse or time period but rather to the idea of memory itself: how it
shifts, distorts, and lingers. The final looks reinforced this theme: skeletal
corset dresses in technical organza, layered with the faint impressions of
Donachie’s portraiture, suggested the ephemeral nature of both art and life.
By the time the last model disappeared up the staircase at the British Museum, the audience was left with an impression that
extended beyond fabric and form. This was a collection that asked its viewers
to consider the weight of history, the echoes of past lives, and the way
fashion ~ like painting ~ can serve as both an archive and an act of imagination.
In an industry often driven by fleeting trends, Erdem’s
Autumn/Winter 2025 collection stood as a meditation on permanence, on the
enduring power of memory captured in fabric and pigment. It was, in Donachie’s
words, a series of “footnotes in time,” rendered with the sensitivity of an
artist and the precision of a couturier.
Scroll down to see more highlights from Erdem's AW25 collection in London
Harriette Richards, Senior Lecturer, School of Fashion and Textiles, RMIT University; Ari Mattes, Lecturer in Communications and Media, University of Notre Dame Australia; Gregory Camp, Senior Lecturer, School of Music, University of Auckland, Waipapa Taumata Rau; Stuart Richards, Senior Lecturer in Screen Studies, University of South Australia, and Tom Clark, Chair of Academic Board, Victoria University
