{"id":169713,"date":"2025-09-04T14:58:55","date_gmt":"2025-09-04T13:58:55","guid":{"rendered":"https:\/\/centmagazine.co.uk\/?p=169713"},"modified":"2025-09-04T15:01:33","modified_gmt":"2025-09-04T14:01:33","slug":"what-trends-to-wear-love-fashion-for-autumn-winter-25","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=169713","title":{"rendered":"What Trends to Wear, Love Fashion for Autumn Winter 25"},"content":{"rendered":"\n

In our post \u201cAW25 We Will Love To Wear<\/a>\u201d we took a closer look at London\u2019s fresh takes on autumn style and we explored the first looks of the season in “Love A Fashionable First Look<\/a><\/mark>“. But with the season starting just around the corner, there\u2019s so much more to discover beyond the UK. Designers from around the world and their AW25 collections, that are packed with inspiration for the cosy months ahead.<\/mark> What Trends to Wear, Love Fashion for Autumn Winter 25<\/em><\/p>\n\n\n\n

Gerrit Jacob<\/a><\/strong><\/p>\n\n\n\n

In “MERCY,\u201d Gerrit Jacob\u2019s latest collection, themes of religious & spiritual iconography, youthful rebellion, and cultural memory collide, giving form to a raw and introspective exploration of faith and rejection. Inspired by personal experiences with Christianity, “MERCY” brings a lens to the tumultuous relationship between belief and self-doubt, as well as the liberation that comes from questioning tradition. <\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

TTSWTRS<\/a><\/strong><\/p>\n\n\n\n

The collection, deeply inspired by the transformative journey of body acceptance, celebrates the human form in all its authenticity. Prints featured on the garments were created from photographs of real people who shared their struggles with body image, allowing them to tell their stories and overcome their fears. These prints embody the essence of the human body, reflecting the strength, freedom, and beauty that come with embracing one\u2019s true self. Some designs were created in collaboration with a tattoo artist.<\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Tyler McGillivary<\/a><\/strong><\/p>\n\n\n\n

Tyler McGillivary’s debut Fall\/Winter 2025 runway presentation tells the story of a perfect \u201cDate Night\u201d in 30 looks. The show opens with a taxi yellow, viscose faux leather jacket and matching mini skirt \u2014 setting the stage for a strict colour story that draws from the collection\u2019s textiles and mimics the lights of a glowing skyline.<\/mark><\/p>\n\n\n\n

A narrative of the night then unfolds through photo prints and surreal details such as a taxi cab print mini skirt, custom lip-shaped buttons, appliqu\u00e9d flowers, lipstick kisses, and vintage brooches. <\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Alice + Olivia<\/a><\/strong> <\/p>\n\n\n\n

For Fall 2025, Alice + Olivia by Stacey Bendet unveiled a production of unprecedented theatricality: a textured, romantic, and fantastical collection inspired by the world of William Shakespeare and the costumes of The Royal Shakespeare Company. With stage-worthy flourishes like lace collars and cuffs, the collection takes the characters and finery of the great playwright\u2019s beloved stories and reimagines them for modern women and occasions.<\/mark><\/p>\n\n\n\n

Stacey Bendet infused Fall 2025 with elements of romance and drama to evoke the characters, language and imagery of Shakespeare\u2019s plays and sonnets. The intricate fabrications and regal silhouettes in the collection were developed from a dream starting point: the costumes that brought the most famous plays in the world to life. <\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Carolina Herrera<\/a><\/strong><\/p>\n\n\n\n

This collection is about exploring the idea of ephemeral beauty \u2013 that single elusive moment where everything comes into focus, where everything is perfect in the garden. It is comprised of pieces that I cherish, in the new pieces I nurture in my creative process that I hope the Herrera woman treasures just as much when she brings them into her wardrobe, like planting a new seed in the garden.<\/mark><\/p>\n\n\n\n

\u201cGrowth has its season. There are spring and summer, but there are also fall and winter. And then spring and summer again. As long as the roots are not severed, all is well and all will be well.\u201d- <\/strong><\/em><\/mark><\/p>\n\n\n\n

Chance the Gardener a.k.a. Chauncey Gardiner “Being There\u201d<\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Tory Burch<\/a><\/strong><\/p>\n\n\n\n

\u201cTwisted American sportswear. A second glance at classics: prim cardigans are slashed through the sleeves; sweatpants are knit in Japanese brushed jersey; sweaters are embroidered to look like tweed. A wardrobe collected over time, where each piece becomes irreplaceable: the perfect blazer, a favourite dress, a worn-in sweatshirt. Women are defining \u2018classic\u2019 for themselves.\u201d<\/strong><\/em><\/mark><\/p>\n\n\n\n

Tory Burch<\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Luar<\/a><\/strong><\/p>\n\n\n\n

Hands like a faggot, life like an ugly swan.Hand gestures gay, flamboyant, pato \u2013 just like the clothes he wore,exacto, like Sim\u00f3n. Sim\u00f3n el maric\u00f3n.Represented a whole generation of Mira ese pato,me dec\u00edas, do\u00f1a en gracia.Do\u00f1a en Gracia, who had no grace, but very gracefully tossed a one-dollar baguette bread out the window as you walked by, not a fuck given, en gracia.Not sure, pero graciosa s\u00ed.Bendito, mira el hijo de Super, se parece a Sim\u00f3n.Leave me alone \u2013 l’m no maric\u00f3n.Jenna, I said, esa s\u00ed es Sim\u00f3n.It was like a mirror I had to see every time I stepped out, but now I know that the real maric\u00f3n is you.<\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Diotima <\/a><\/strong><\/p>\n\n\n\n

Fall 2025 is centred around this figure, the matriarch\u2013 her nuance and complexity, sensuality and intimacy. For too long, her story has been reduced and flattened. I\u2019ve been thinking a lot about how the portrayal of us, as black women, needs to be readdressed. It was difficult to find images that painted a whole picture of our lives, our interior worlds, our complexities, our knowledge, our generative creativity, and our beauty. Last November, I put out a call to my community:<\/mark><\/p>\n\n\n\n

\u201cI am researching images of the black women that came before us and paved the way: the auntie, the trans mothers, the grandma, the matriarch.\u201d <\/em><\/strong><\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Kate Barton<\/a><\/strong><\/p>\n\n\n\n

For Fall\/Winter 2025, Kate Barton shifts the lens from the runway to a more intimate form of storytelling, framing her latest collection through the women who inspire and wear it. This season, the designer trades the traditional show for a campaign that is less about presentation and more about presence\u2014a quiet yet powerful study of how clothing moves, evolves, and adapts through the lens of women supporting women.<\/mark><\/p>\n\n\n\n

At its core, this campaign is a conversation\u2014one that extends beyond the fashion cycle and into something more enduring. Barton has assembled a collective of remarkable women, each distinct in style and substance, each shaping the world in their way.<\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Carolina Sarria<\/a><\/strong><\/p>\n\n\n\n

Carolina Sarria\u2019s Fall\/Winter 2025 collection breathes new life into their defiance\u2014reimagining a world where the dispossessed become the arbiters of style, where the scars of war are transformed into declarations of power. Distressed and charred textiles evoke the scorched earth of ravaged towns while gleaming silver and gold thread recall the flashing of blades in moonlight, and the glint of armour before battle. <\/mark><\/p>\n\n\n\n

The collection\u2019s disparate tartans nod to the Scottish clans\u2014once fractured, now momentarily bound together in opposition\u2014while raw-edge tailoring mirrors the haphazard assembly of garments marked by war and necessity. The silhouette is defiant, the posture unyielding: streetwear imbued with the spirit of modern punk, where anarchy is less a threat than a birthright. Graphic prints emblazoned with 1637 mark this as both a relic and a prophecy, a moment in history resurrected for a new rebellion. <\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Thom Browne<\/a><\/strong><\/p>\n\n\n\n

The hallmarks of traditional menswear tailoring reach from the outside in: suede elbow patches and contrast collars complement self-covered buttons, belts, and armbands, while modular shirting in vibrant gingham silk features removable collars and cuffs akin to gilded age tuxedo shirts. Emblazoned with \u201c65\u201d about Thom\u2019s birth year, a tweed football pinnie and chocolate brown suede varsity jacket pay homage to collegiate classics. Elsewhere, sequin, boucle yarn, silk ribbons, and featherlike thread converge in red, white, blue, and silver tweeds. 3,500 black, silver and clear Swarovski crystals are skillfully linked into a trompe l’oeil dress that alludes to the classic Thom Browne uniform. a striking level of detail, both functional and decorative.<\/mark><\/p>\n\n\n\n

\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

Norma Kamali<\/a><\/strong><\/p>\n\n\n\n

\n