Enfant Terrible. Marni AW25

Francesco Risso keeps on being Milan’s enfant terrible. His Marni – especially the one we see on the runway, not necessarily in the shops – channels wild exuberance and pursuits nonchalance that feels utterly out of place in the most industrial fashion capital of them all. His artsy approach is always a moment of escapism amidst all the serious brands showing here, and this season the designer fully indulged in this sort of Little Edie mindset. But there’s a fine line between experimental bravery and looking like an art school project. This season, I didn’t entirely buy into Risso’s fussy, unflattering-looking fantasy.

Collage by Edward Kanarecki.
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Chic Wrongness. Prada AW25

The beautiful wrongness of Prada.

Messy hair (THAT autumn-winter 2009 girlie is so, so back).

Dress to big. Sack à la Cristobal.

Don’t care about the creases. Who cares about ironing? She certainly doesn’t.

Just as she doesn’t care about the norms.

Fuck the industry.

Fuck the expectations.

Challenge the (pre)conceptions of beauty.

The body is (un)seen.

In a homo-sapiens-chic faux-fur shawl.

Rough, crude leathers.

Primary instincts meet baby-doll.

We just talk about which clothes make sense now,” Miuccia Prada and Raf Simons said.

Collage by Edward Kanarecki.
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The Main Woman. Fendi AW25

Fendi celebrated its centennial in the only right way: with Silvia Venturini Fendi as the main woman at the helm. And after yesterday’s show, I hope she will stay with the brand’s womenswear for seasons to come. The collection just felt really, really good. It was chic and substantial, full of breath-taking craftsmanship and clothes (and accessories – like the netted beanies!) that are actually appealing. And there was a sense of nonchalant fun, reminiscing the spirit of Karl Lagerfeld (and something that was painfully absent throughout Kim Jones’ emotionless tenure). To mark the fact that fur, while central to Fendi, has always been just part of its offer, Venturini Fendi proposed collarless coats and dresses that featured furry facades (in either mohair or shearling) that looked like the reveres of these garments but were in fact removable stoles. Most of the spotlight-stealing fur coats were made in shearling. The red spotted dress was a particularly bravura example of this house’s craft.

Collage by Edward Kanarecki.
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