Magdalena. Magda Butrym AW25

Marking a new decade of creativity, Magda Butrym unveils her most personal collection yet: “Magdalena“. Derived from her full name, which she uses privately, “Magdalena” is an intimate self-portrait that reflects the Polish designer’s raw self-expression while staying true to her brand’s distinct identity.

For autumn-winter 2025, Butrym draws deep inspiration from the emotional depth of poetry and the tactile beauty of knitwear – an art form that holds a significant place in modern and contemporary Polish culture. Weaving has been a defining theme in Polish art for over a century, and with “Magdalena“, the designer pays tribute to this craft through fashion. Influenced by visionaries such as Magdalena Abakanowicz, Paulina Ołowska, and generations of skilled Polish artisans, Butrym infuses the handmade artistry of weaving into key elements of the collection, from eveningwear to the set design of the showcase.

Magdalena” is shaped by a blend of influences, all filtered through Butrym’s Slavic sensibility. The rich possibilities of loom weaving allow the designer to experiment with texture in unexpected ways. Artisanal dresses, like the striking red mini and the open-knit tutu paired with a black slip, are crafted from intricate blends of yarns and techniques that sculpt the female form in unapologetic beauty. The show’s final look, a wedding dress with a crochet veil and cloud-like textured pumps, is one of the designer’s most personal pieces. Densely woven and rich in texture, its petal-like silhouette echoes traditional Polish tapestries made from the finest, softest yarns. Kept in white – a color symbolizing freedom and new beginnings – it embodies Butrym’s vision of Slavic expressionism, merging handcrafted artistry with a sensual, empowered femininity.

Since “Magdalena” is a deeply personal project, the collection naturally includes elements of Butrym’s everyday style. A sense of modern practicality contrasts with the dreamier elements: a raw shearling coat is effortlessly draped over a luxe tracksuit, while fur shawls are layered atop duvet jackets. To reinforce the brand’s signature aesthetic, Butrym incorporates a vivid, floral headscarf – a defining motif of Slavic heritage. A selection of sculpted black dresses, designed with ultra-feminine, hourglass silhouettes, draws inspiration from the traditional shapes of Polish folk costumes. These looks also pay homage to the enigmatic, powerful women captured in Peter Lindbergh’s iconic photographs – figures who walk confidently along cold, wintry beaches. “I find those images incredibly strong and beautiful,” the designer reflects.

The “Magdalena” collection came to life in a show space that fully embodies its spirit. For this one-of-a-kind, immersive environment, approximately 200 meters of fabric were woven – an intricate process requiring over 150 hours of craftsmanship. Suspended from the ceiling, these woven linen and alpaca pieces underwent meticulous treatments, including warp winding, threading, and precision tying, creating a mist-like, semi-sheer frill effect. These delicate, handcrafted installations echo “Magdalena“’s approach to femininity and craft. Their deep, saturated red hue references the Enchanted Rose, the eternal symbol of Magda Butrym’s brand. As the models move freely through the ethereal setting, they not only animate the space but also embody the essence of the “Magdalena” woman.

For Magda Butrym, “Magdalena” marks the beginning of a more instinctive, experimental phase in her work – one driven by pure emotion and the joy of creation. While it presents a bold, new perspective, it is still deeply rooted in the essence of her brand. The collection embraces novelty, yet its unmistakable spirit—delicate yet strong, sensual yet powerful – remains entirely true to Magda Butrym’s vision. It is a daring, fearless exploration of self, revealing the designer’s artistry in a way never seen before, yet instantly recognizable.

Collage by Edward Kanarecki.
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Break The Routine. Bally AW25

Simone Bellotti‘s collection for Bally was the perfect finale of Milan Fashion Week, being the best show of the last past days, shoulder to shoulder with Prada. Just like Miuccia and Raf, Simone does highly intelligent fashion – a rare talent. The autumn-winter 2025 show was titled elusively: “Leistung Aufführung” – two German words that both translate to “performance,” but carry distinct meanings. Leistung refers to performance in the sense of work, measured by productivity and achievements, while Aufführung signifies performance as a form of self-expression on stage. Hence the collection’s inspiration: 1970s photographs of Swiss performer Luciano Castelli, with his face heavily made up, dressed in shimmering sequined drag. In the collection, Castelli’s influence translated not only into shimmering berets and sequined make-up, but a striking play between structure and fluidity. Simone’s Bally is above all pure precision of cut; formal tailored coats and severe black leather dresses are regulars, but this time around they went through an expressive treatment, disrupted by wild burst of fur erupting at the back, or peeking out from the rigid crinoline of a peplum top. Those unexpected contrasts felt also very Dada, very Zürich’s Cabaret Voltaire. The bags, reminiscing giant bells that you can all over Swiss landscape, hit all the right spots. “I crave discipline, but breaking the routine is liberating,” Bellotti reflected. The industry rumor has it that this is the designer’s last collection for Bally, a triumph before his arrival to… Gucci. I’m here for it.

ED’s SELECTION:

BALLY Patent-leather Ballet Flats


BALLY Leather Mini Skirt


BALLY Brushed-wool Coat


BALLY Pathy Studded Leather Loafers


BALLY Belle Large Leather Tote

Collage by Edward Kanarecki.
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Pina. Ferragamo AW25

For a second season in a row, Ferragamo‘s Maximilian Davis is inspired with contemporary dance. Pina Bausch was an in-your-face reference for autumn-winter 2025, just looking at the petal strewn runway (a nod to one of her most famous stagings, “Nelken“). Ballerina’s bodysuits from last collection got replaced with thicker jerseys, semi-sheer shifts and airy drapes. Two densely fringed mesh dresses near the end were hung with carnation-like florals. Some of the oversized tailored outerwear (the collection’s standout moments) echoed the masculine garments that Bausch was sometimes photographed wearing. It all seemed right. But in the end, something’s still missing in Maximilian’s vision for the Italian house.

ED’s SELECTION:

Ferragamo Star Leather-trimmed Leopard-print Calf Hair Tote


Ferragamo Gyoia Bow-embellished Patent-leather Pumps


Ferragamo Layered Ribbed Jersey Top


Ferragamo Padded Shell Bomber Jacket


Ferragamo Hug Medium Leather-trimmed Raffia Tote

Collage by Edward Kanarecki.
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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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