THE WRONG, THE BAD AND THE UGLY

Introducing crisis dressing - the antidote to uncertain times

Six months ago, at the end of the last show season, we talked about going bonkers—letting loose, embracing fashion beyond the algorithm’s limits, and dressing with a playful, boundary-defying attitude. But now, just days after fashion month ended, the mood for Fall/Winter 2025 has clearly shifted. The fantasy has softened, making way for resilience, adaptability, and a new kind of pragmatism in unstable times: crisis dressing.

Call it survival mode - but make it fashion. Crisis dressing is less about carefree experimentation and more about navigating uncertainty, with clothes that protect, adapt, and make a statement all at once. This show season reveals that some are using fashion like armor for protection, while others are turning to luxury as a way to escape.

A creased blazer from Prada Fall/Winter 2025

The wrong

The Fall/Winter 2025 shows unraveled the idea of feminine perfection—quite literally. At Prada, Miuccia Prada and Raf Simons took a scalpel to the concept, turning a sleek ‘60s sheath into something raw and undone. Skirts with paper-bag waists challenged the usual hourglass shape, while stiff, heavy fabrics made clothes feel more like armor than decoration. Just-rolled-out-of-bed hair, beautifully wrong creased blazers, exposed seams, and raw hems reinforced a sense of deliberate imperfection—a look that said “hands off” rather than inviting touch.

MARIE ADAM-LEENAERDT Beige pinched trench coat (on sale), PRADA Crinkled poplin shirt, (similar here), THE ROW Isonzo cashmere tights and THE ROW India 15.75 Large leather tote bag (might go perfectlu with the Prada buckle bag as well)

The Row took a quieter, almost monastic approach to resisting traditional femininity. Mary-Kate and Ashley Olsen draped their models in natural-toned wools, pairing black felt headscarves (totally Peter Lindberg for Comme des Garçons in 1988’s) with outfit-harmonizing tights and no shoes. Here too, thick, textured fabrics, raw hems, and draped silhouettes stripped everything back to its essence, recalling the Margiela-for-Hermès era and early Yohji Yamamoto, where fabric and form spoke louder than embellishment.

The Row Resort 2026

The bad (and the ugly)

Duran Lantink's Fall/Winter 2025 opening and closing looks included a latex top sculpted to resemble a male torso, worn by Mica Argañaraz, and another featuring pendulous, bouncing breasts on a male model. These weren't just viral moments; they challenged gender norms in a way that felt more thought-provoking than gimmicky. With these statements, Lantink proves that crisis dressing is about more than protection; it’s about challenging and breaking free from societal norms.

Rejecting convention, Lantink uses foam-padding techniques to create exaggerated shapes and silhouettes that evoke a sense of security. 'Bad taste' was another recurring theme, with loud animal prints, camouflage, and exaggerated plaid clashing in calculated chaos.

ACNE STUDIOS Double breasted wool coat (on sale), PRADA Poplin wrinkled shirt, SHUSHU/TONG Gray double layer midi skirt (or similar here) and LEMAIRE Underwear with suspenders (match with the suspender top here and here, an oh we love this Carven ruffled tulle briefs too) 

As always, Mrs. Prada proved she’s unafraid to mix fashion with politics. This season, Miu Miu’s offbeat skirt suits had a distinct 1940s edge, recalling a time when men were at war and women took charge. Twisted cloche hats, inspired by the 1920s, draped like loosely constructed helmets (kind of like these from COS, but with strings). Knee-high socks were paired with bias-cut slips, lurex sweaters, and cone-shaped ‘bullet’ bras. The Milanese woman gone ugly chic reappeared as models clutched handbags, not as accessories but as weapons, ready to swing if needed. But Miuccia Prada didn’t just flirt with nostalgia. She pushed back, interrogating what it means to be feminine in times of crisis. 'The collection was about femininity and the idea of doing femininity in this difficult moment to lift us up,' Mrs. Prada said. Like Lantink, Miu Miu challenges the status quo at a time when freedoms, particularly those of women, LGBTQ+ individuals, and minorities who dominated Miu Miu’s Fall/Winter runway, are under threat.

Miu Miu Fall/Winter 2025

Tentacle-like belt skirts

We are learning that crisis dressing isn’t just about what you wear; it’s a shift in perspective. Marie Adam-Leenaerdt captured this idea beautifully in her latest collection, exploring the balance between style and practicality. Set in the intimate Galerie Paradis in Paris, the show presented each look in two variations, highlighting clothes designed for both durability and versatility. With heavy felted coats and sculptural knits, Adam-Leenaerdt rejects fast fashion, creating pieces that are built to last

Marie Adam-Leendaerdt Fall/Winter 2025

Similarly, Hodakova continued to push the boundaries of upcycling, blurring the lines between surrealism and wearable art. Her latest collection featured tentacle-like belt skirts and a cello dress (we kind of like the inside-out shoe idea)—not just for spectacle, but as a testament to resourcefulness and creativity. Both designers challenge the disposability of fashion in today’s world, proving that reinvention can be both radical and relevant in troubled times.

Hodakova Fall/Winter 2025

It only feels right to end this week’s newsletter with Miuccia’s sharp questioning (honestly, shouldn’t she run for president?): “The question is, what do we retain of femininity? Does it help in this really dangerous moment?” In a world reshaped by crisis, we believe femininity becomes even more fluid, a shifting force we define on our own terms. Fashion is more than just adornment; it’s a tool of choice: a shield, a statement, a rebellion, or all of them at once.

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