Tim Blanks and Imran Amed Reflect on the Spring/Summer 2025 Shows
Looking back on the most memorable moments of fashion month, the editor-in-chief and editor-at-large of BoF discussed the reactions of designers to a changing world.
Background
During the Spring/Summer 2025 shows, designers struggled to find a balance between restraint and expression. This led to collections that aimed to have a deeper emotional and intellectual effect, especially in light of the economic uncertainties, the global luxury sector downturn, and the escalating hostilities throughout the world.
As they prepare for the worst, megabrands have reduced the lavish celebrations around fashion week and are instead focussing on streamlining their shows and cutting costs.
A widespread apprehension and readjustment, in my opinion, are present. Tim Blanks, editor-at-large of The Business of Fashion, asserts that the current global situation encourages contemplation more than ostentation.
Those designers, however, stood out the most because they dared to be imaginative. In the midst of world conflict, Francesco Risso staged a cinematic extravaganza at Marni that elevated cotton from a simple material to one with expressive designs, highlighting the beauty of simplicity.
At Valentino, Alessandro Michele finally made his debut, paying homage to the house’s founder Valentino Garavani while adding his own unique style. Jonathan Anderson provoked a reevaluation of conventional beauty standards and an exploration of unconventional silhouettes at Loewe by manipulating scale and perspective.
Joining Tim Blanks and Imran Amed on this edition of The BoF Podcast, they break down the biggest moments from Fashion Month and talk about how the world’s current situation is impacting designers and brands.
Major Takeaways
Alessandro Michele’s much anticipated debut for Valentino was a masterclass in fusing the house’s legendary history with his own distinctive creative vision. Like couples reuniting after decades of separation and experiencing “that kind of explosion of joy,” Blanks likens the partnership to “a natural consummation.”
The recent Gucci projects by Sabato De Sarno illustrate the challenges of reimagining a house with such a storied history. Despite his best efforts, his collections have been panned for failing to live up to Gucci’s legendary reputation for daring and originality. The challenge, according to Blanks, is “making a fresh narrative for Gucci when the old narratives are just so dominating.”
Jonathan Anderson persisted in challenging convention at Loewe by playing around with perspective and scale. Anderson’s designs often featured voluminous hoop skirts that floated in midair, manipulating the viewer’s sense of movement and shape.
Anderson encourages contemplation “by presenting them with something that makes them wonder, how would I wear that?,” as Blanks notes, and “he likes to challenge people’s points of view.” I don’t know how to sit in that.
Featuring once-extreme proportions softened into more wearable silhouettes, the collection by up-and-coming designer Duran Lantink left quite an impression. Those garments embody the tangible expression of autonomous thought. “Fashion needs more of that—what we need is more independent thought,” Blanks argues.
“I think the future of the fashion industry is in good hands with some of these younger designers that haven’t necessarily had a big role in a house yet but certainly deserve an opportunity to show what they can do,” Amed says, echoing the significance of cultivating fresh talent. The industry needs to stop being so cautious, and I believe that’s a big part of it. Maintaining a safe environment is dull.
