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In the coming days we’ll be dissecting the fall 2025 season that just ended, every which way we can: by trends here at a Vogue Runway, by its size diversity, or the glaring lack of it, on Vogue Business, and by the shows’ popularity with you, our readers. But first we’re bringing you our own favorites. These are the collections that got us thinking, made us emotional, and prompted some back-of-the-invitation budgetary calculations—some of them, all at the same time.
Undercover
We’re coming off a month of shows, and we’ve seen exceptional clothes from beginning to end, but a lot of them seem designed for an imaginary world, or at least one I don’t recognize, where women (girls, really, because so may of the models are so young) wear skyscraper heels and swaddle themselves in fur, enough to choke on! What I love about Jun Takahashi’s work at Undercover, and this collection in particular, is that it makes me dream, but it’s recognizably of the real world. This season he was reflecting on the passage of time, picking up the thread of a collection from 2004, adding bits and bobs and sundry treasures that a woman might accumulate over a couple of decades to jackets and coats, and cutting them with the sagging seams and hems that come with really living in clothes. He presented it on a cast of models with gray hair, wrinkles, and envy-inducing elegance. That Takahashi is not a corporate giant, that his company is human-sized, and his ambitions too, has a lot to do with its emotional resonance, I think.—Nicole Phelps, Global Director of Vogue Runway and Vogue Business
Tom Ford
Sometimes everything comes together in a show and creates something very special, something that you’ll remember for years to come. Haider Ackermann’s debut at Tom Ford was one of those moments for me. By the third look, you knew it was good; by the time those delicious colored suits came out you knew it was really good. I’m still obsessing over the tuxedo jumpsuit…. Tom Ford and Haider Ackermann are great designers. Who knew the combination of the two would be so wonderful to witness?—Virginia Smith,Global Head of Fashion Network
Comme des Garçons
It was International Women’s Day last Saturday when Rei Kawakubo showed what I took to be her giant metaphor for her fight-back against the oppressive forces of corporate power. Current political events had mostly been felt as noises-off during this anxious fall 2025 season—the most head-on relevant feminist show in Paris that day was the Femen street protest against the rise of fascism, an historic marker of the times we’re living in which really warrants a viewing. Kawakubo did not link her Comme collection to IWD, but context is everything. As she started her show with huge distorted figures of menswear pinstripes and checks, it couldn’t help but make a chilling parallel with the disgusting spectacle of suit-based bullying that had just gone on in the Oval Office. Caveat that observation with the fact that Kawakubo never does anything on-the-nose as narrative themes, but as her show progressed, the steady takeover of multiple symbols of ‘female’ clothing on that runway hit me as a message of resilience and hope.—Sarah Mower, Vogue Runway Contributor
Tory Burch
I loved entering the Tory-verse at MoMA, a front row flooded with eager starlets from Martha Stewart (ever a starlet in my book!) to Havana Rose Liu all excited to be there and sporting the same pierced hobo bag. I loved the quirkiness of the collection, a precursor to the subverted office wear trend we saw across the European shows. The wry details demanded a second look: the mismatched sweaters, the lucky rabbit feet hanging off the shoulder of an otherwise prim but twisted chintz dress, the charming rat on the ankle of the tights. The Lunar cycle tells us it is the year of the rat, maybe it is the year of Tory Burch too?—Chloe Malle, Editor of Vogue.com
Miu Miu
Rugged/ladylike wool suits; wrinkled socks; craquelure leather aviator jackets; horn rimmed glasses; fur stoles worn in the crook of the arms—and all on an incredible cast which embraced womanhood. Plus: Miuccia Prada brought to life every Neo Realist and kitchen sink drama fantasy of mine. (If you even as much as hint at A Taste of Honey you’ve got me.)—Mark Holgate, Global Network Lead US Fashion Features Director
Saint Laurent
I was back in New York by the time that Anthony Vaccarello sent those rich, rich colors—fuchsia, amber, lapis, indigo, vermilion, olive, and then leopard—down his marbled runway, but it had all the same effect from afar. Mark Holgate noted in his review that there was a vulnerability in the collection’s simplicity, which I guess goes to prove Brene Brown’s theory about the source of true power.—Mark Guiducci, Creative Editorial Director
Dilara Findikoglu
Watching a show that you’ve spent years reviewing for Vogue Runway but which has been reassigned can stir relief or regret. Not gonna lie, I was touched by regret watching this bravura Dilara show. Because I wanted to hear her this season recipe for the feminocentric ferocity that stirred a collection full of boundary busting and ball-breaking heroines. Plus it was classic Dilara but also new Dilara: the angrily shaggy hair explosions and the closing leather tattoo look, where had those come from? And yet it was also something of a relief to be able to soak up this show (not quite her finest, but in her top three, for sure) without typing the notes that form the disjointed trail of crumbs that eventually leads to a finished review; instead it felt a fresh pleasure to passively watch her work, and be transfixed.—Luke Leitch, Vogue Runway Contributor
Marni
What makes a show memorable? The formula varies, but it often hinges on an elusive mix of showmanship and strong design. It jolts your pulse, sharpens your focus, and leaves your head spinning—much like downing a double espresso on an empty stomach. As I scroll through the countless fashion shows crammed into my overcrowded headspace, this season’s Marni emerged as a standout moment that had me on the edge of my seat.
I’ve been following Francesco Risso’s journey since he took the helm at Marni, and he has consistently proven to be both an entertaining raconteur and a designer who balances edge and poetry—with a dash of fearless, bonkers, almost Dada energy thrown into his repertoire for good measure. His work isn’t just visually compelling, it’s also an intuitive reflection of the cultural pulse, woven into a radically whimsical practice that sets him apart from most designers.
This season, in a Marni-fied cabaret with live music by Dev Hynes, Risso brought both theatrics and substance—constructivist tailoring with curved-back jackets worn over dervish-swirling skirts; entrance-making opera coats with flowers unfurling on shoulders; a red sharp pantsuit with a black sequined wolf climbing around it. A decadent lineup of ’20s and ’30s-inflected evening dresses was crafted in patch-worked satin, their luscious mermaid silhouettes and trailing trains trimmed with feathers, in a riot of dense, strident chromatic adjacencies. They had a cinematic swagger, and looked fabulous. I was instantly hooked—my fashion senses hit by the jolt of that Italian double espresso.—Tiziana Cardini, Vogue Runway Contributor
Anrealage
Anrealage’s Kunihiko Morinaga is an outlier in suggesting a world that could be. He does so by engaging collaboratively, and deeply, with technology to show us things we really couldn’t have imagined. Nostalgia isn’t going to move fashion into the future, Morinaga’s almost alone in going where no designer has gone before.—Laird Borrelli-Persson, Senior Archives Editor
Rick Owens
I love love love Rick Owens. But as much as I can fantasize about one of his sculptural jackets, or his extra long flared trousers, they’ve never felt like something I could actually wear in real life—not that there’s anything wrong with that! I was most drawn to his hoodie-and-a-long-skirt propositions, especially the wet cement-colored version, though I also liked the short sleeve style in muscle-red, both made from “natural rubber” ribbons. The way they wrapped and undulated around the body was just so sensual! The leather “crochet” finale dresses were also just dripping with desire and unexpected glamour.—Laia Garcia-Furtado, Senior Fashion Editor, Vogue Runway
Vaquera
I still remember the first time I heard about Vaquera. I was fashion student and a classmate of mine was desperate to intern at this “cool NYC brand fuckin’ it up.” Cut to 10-ish years later, the “Vaquera kids” are all grown up, as I am, but one thing’s stayed the same: their love for fashion, and their ability to… well, “fuck it up.” Patric [Dicaprio] and Bryn [Taubensee] are moving to Paris this year having been showing there for a few years since they started working with Dover Street Market there. It’s been great to see them polish their collections and POV, and this show was the epitome of that. Terrific tailoring in their gargantuan proportions, some great dresses, and a few funky machinations for the true believers (me!) that kept things playful and fun. Above all, it’s comforting to see that designers and brands can grow up and still be themselves. I wish them the best for their next chapter—New York Fashion Week has been missing them since they left, and the city’s fashion scene doesn’t feel the same without them.—José Criales-Unzueta, Fashion News Editor, Vogue Runway
Luar
“I’m not going back in the closet for no one.” It’s what Luar’s Raul Lopez told Vogue’s Laia Garcia-Furtado of his new fall collection—and it was an appropriate zinger, given his assortment served as a celebration of fabulous gayness. Reclaiming the Spanish word “Pato,” sometimes used as a homophobic slur, Lopez sent out a cool, subversive lineup of clothes that were unapologetically queer-coded. Oversized puffer coats trimmed with sequins, or durags fringed with shimmering fringes. The cuts were interesting, even on his simpler coats or suits, but it was more so the spirit of the presentation that truly made it a seasonal highlight—especially when models walked down the catwalk with deliberately limp wrists. It was the campy, powerful show that New York Fashion Week needed.—Christian Allaire, Senior Fashion and Style Writer
Alberta Ferretti
Lorenzo Serafini came to Vogue headquarters in a peony pink sweater a week before his debut at Alberta Ferretti to give Nicole Phelps and Mark Holgate a glimpse at what he was planning for his debut. Those who know me know that pink is one of my favorite colors to wear (it scientifically has been proven that it boosts your mood also), so when Nicole told me that I could expect to see the shade throughout his collection I knew that I had something to anticipate during Milan fashion week. But as I was watching the livestream of the show, it wasn’t the pink that got me but the romance of the gauzy gowns and the ruffles on blazers and pant hemlines. It was one of the more understated shows of Milan—it lacked the campiness of DSquared2, the glitz of Dolce Gabbana, or the name value like Versace, but it’s the one that I remember the most.—Irene Kim, Production and Editorial Associate, Vogue Runway
Ferragamo
Maximilian Davis can do no wrong. This season, he expanded on the ballet-inspired pieces that he introduced in the spring, presenting a collection that moved beautifully with the body as models glided down the runway. My favorite looks were the silk mini dresses and the oversized tailored outerwear. The set was covered in thousands of red flower petals and at the show Stefon Diggs told me that he was reminded a little bit of Valentine’s Day. I’d have to agree because the collection truly felt like Davis’s love letter to fashion.—Taylor Lashley, Manager, Social Media
Dries Van Noten
As one of the (many) Dries fans who has spent many an evening scouring The RealReal for Dries by Dries pieces, this season I was waiting with bated breath for Julian Klausner’s first Dries Van Noten show as creative director. It did not disappoint. His debut collection harkened back to the prints and embroidery Dries does so well, while still carrying it forward with his own darker, perhaps more dramatic, POV. And there were very few pieces that I wouldn’t want to incorporate into my own wardrobe which, to me, is what Dries is all about. (Who wouldn’t jump at the chance to put on look 38?) It was lovely to see videos of Van Noten giving Klausner a congratulatory hug backstage as well, a show of support for the brand’s next era.—Madeleine Schulz, Vogue Business reporter
Fendi
Amidst the ongoing creative director gender gap discourse, Fendi’s 100th anniversary collection felt nothing short of miraculous. Silvia Fendi pulled off the tall order of honoring a century-long legacy while looking ahead—all while offering a masterclass in a woman dressing women. There was masterful tailoring, sumptuous outerwear, flashes of sparkle, and pure fun in a cohesive offering, but one that women from all walks of life can surely find a place within (if they have the bank accounts, that is). It feels plausible that I can be both the person who wears a paillette-covered midi skirt with a V-neck sweater and the one who wears a fitted pantsuit with a satin lapel. Women, as they say, contain multitudes, and nobody seems to get that like Fendi.—Hannah Jackson, Fashion Writer
Alaïa
Maybe it was flying 13 hours beforehand from an overloaded weekend in Los Angeles, but arriving to Alaïa’s newly redesigned headquarters felt like the calm I was craving. Being mere inches from designer Pieter Mulier’s pleated leather skirts gave me a whole new appreciation of the craftsmanship of each piece. The fantastic soundtrack composed specifically for the show by Gustavo Rudman was titled “liefde,” or Dutch for “love,” which is how I felt about the show. Honorable mention for Polo Ralph Lauren, where I felt I could wear every outfit, sweatpants tucked into socks and all!–Sam Sussman, Global Director of Social Media