Can Couture Be Modern? A Look at the Fall 2025 Season

At his Maison Margiela debut, the highlight of the season, Glenn Martens arrived at relevance from the opposite direction. Whereas van Herpen grew algae, Martens played with the veneer of decay, referencing ‘nature morte’ paintings and bricolaged designs, many of which were made from deadstock, which challenged the idea of value.

Martens defied a linear understanding of time through a dialogue with the history of the house. By “resurrecting” existing materials he recognized the symbiosis between past and present (as the Smashing Pumpkins’ song that accompanied the show put it, “the killer in me is the killer in you”), creating a sense of continuity with what came before, both chez Margiela and more broadly in Northern Europe of the Middle Ages.

The designer, who was looking at Gothic cathedrals and spires, which are monuments to creative human endeavor, didn’t shy away from the idea of revealing his process, either. As achingly beautiful as many of the clothes were, this wasn’t an easy show, it grappled with monumentality and mortality. Full-bodied and vital, it was a collection with a beating heart.

Custom Taylor-ed

At the couture, moodboard dressing was taken to the next level.

Midsummer Romance

Ethereal white dresses and tops are coming your way.

Dangerous Liasions

Dress like a latter-day Antoinette in a rococo dress—or like an Antoine in a frock coat.

Belle-Epoque Curves

From the Worth retrospective to the runways, curves rule.

On Form

Couture was a Build-a-Body masterclass.

Rare Birds

Designers dress taloned birds of prey as well as songbirds.

Chlorophyl Dressing

In a black and white season, green is a sign of hope and new beginnings.

The Lady in Gold

Designers took a shine to Gustav Klimt for fall.

Great Scots

Innovative takes on this traditional weave.

Chin Up

Dashing collars frame the face.

Aura Ring

These clouds are not for storage.

Back in Fashion

Make like Missy Elliott and put it reverse.