The Very Best Shows From the A/W25 Menswear Shows

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Willy Chavarria Autumn/Winter 2025
Willy Chavarria Autumn/Winter 2025Photography by Harry Miller

From Kim Jones’ final Dior collection to Willy Chavarria’s heartfelt Paris debut; here are the best shows from the Autumn/Winter 2025 men’s season

Prada

Despite the opening mantra “technology, technology, technology” that boomed overhead the rickety three-storey scaffolding on which guests perched, Miuccia Prada and Raf Simons continued their defiance of AI with a collection based on “a naïve or spontaneous way of choosing things”. “This is how to again go into humanity, passion, instinct,” said Mrs Prada, speaking backstage, of the curated disorder of furs, outlandish prints and battered accessories that were presented along a Catherine Martin-designed Art Nouveau carpet. Yet any absurdity of print and textile was intuitively smoothed into streamlined, straight-edged silhouettes and tailoring. “We try not to really dictate something … it’s more ‘that feels right’,” mused Simons. “A non-system, almost.”

Read Alexander Fury’s review of the collection here.

Louis Vuitton

Louis Vuitton’s A/W25 collection, Remember the Future, was co-designed by Pharrell and Kenzo’s Nigo as a trip down memory lane of their storied friendship. Heavy on Japanese-inflected streetwear, there were cherry blossom pink ‘damoflages’ (Pharrell’s signature digitally pixellated camouflage print), Sashiko-stitched denim, and shippo-weaved workwear jackets. The addition of more formal suiting and plush fur-collared overcoats was a neat surmise of their common journey from Billionaire Boys Club (which they co-founded in 2003) to each now designing at the helm of luxury brands. At the end of the show, the blacked-out vitrines that lined the saccharine pink runway were lit to reveal each designer’s personal collectables – all of which will go on auction at Joopiter.com.

Read Alexander Fury’s review of the collection here.

Willy Chavarria

At his official debut on the official Paris Fashion Week Calendar, New York-based designer Willy Chavarria crowned himself as the (much-needed) designer-warrior-proctetor of othered communities, both within the upper echelons of fashion and society-at-large. The clothes, shown in the sanctity of the American Church of Paris, were very much rooted in Chicano sartorial references – but then cracked up open to a global humanity through his clever use of chiarcuso in textile and palette. As he walked down the aisle of the church to close the show, Chavarria wore a T-shirt from is collaboration with Tinder and The Human Rights Campaign, emblazoned with: “How we love is who we are.” May this fierce message spread far beyond fashion.

Read my interview with Willy Chavarria here.

Ami

Alexandre Mattiussi has always anchored Ami in a keen observation of his clientele, faithfully designing for his label’s regulars and their daily realities. It’s an astucity that was most cleverly embodied in this season’s shirting with built-in neck scarves – perfect for the Parisian whipping about the city by bike. There was, however, a studied roughness to this collection, echoed by the brutalist interiors of the post office where the show took place. Shirting, in both conventional and longer proportions, was often left untucked, while trench belts trailed unfastened behind the models – small, appreciative touches that showed he is aware of the global unease.

Dior Men’s

In a noticeably pared-back collection, Kim Jones’ A/W25 Dior Men show was a princely showcase of the designer’s talent for translating the house’s archives into new, soft codes of menswear. This season, he looked to Dior’s H-Line haute couture from 1945-55, using the collection’s clean feminine lines as the direction for his menswear tailoring, in a muted palette of pearly pinks, greys, creams, and blacks. From the opening look – a coat, worn backwards, with such perfect architecture so as to appear cinched by a cummerbund at the waist – to the day and evening iterations of his now-signature single buttoned asymmetrical coat, Jones proved that quiet luxury is not just in a price-tag: but in a mastery of simple cut and lines to allow the exquisite craftsmanship to speak for itself.

Read Alexander Fury’s review of the collection here.

Dunhill

With British designer Simon Holloway at the brand’s helm, Dunhill is firmly rooted in a continuity of its formal codes and it’s storied take on English classicism. As research for the collection, Holloway studied the Duke of Windsor’s wardrobe at Hampton Court Palace, taking note of the soft-shouldered ‘English drape’ of his suiting. This set the pace for lighter iterations of formal coats and jackets in British traditional fabrics like wool whipcord and cashmere tartan. Flairs of English eccentricity added tempo to silhouettes as velvet smoking jackets were artfully mismatched to trousers. The formality of the collection, and its steadfast commitment to the house’s heritage, was refreshing at a time when menswear seems constantly the subject of contemporary experimentation.

Zegna

Set against a backdrop of the green pastures of Australia, Alessandro Sartori’s show was a homage to Zegna’s historied relationship with the country: the Ermenegildo Zegna Wool Trophy Awards has recognised each year since 1963 the finest wool developed by Australia’s merino industry. This durable, soft thread is now the basis of its Vellus Aureum line, which Satori released during the show. The languid silhouettes that such idyllic nature seamed inspiration to the collection: there were lofty pockets, in both trousers and coats, that allowed whole arms to slip, wide labelled, low-buttoned single-breasted coats, and shirting layered over shirting.

Kiko Kostadinov

Kiko Kostadinov announced a departure from the minimalistic, clinical lines of previous seasons, yet this season’s “feeling of rawness and rugged construction” only further proved the designer’s unparalleled talent for designs that wear the complexities endured by the very human characters in them. Models entered in pairs, from opposite creaking doors to pad along crunchy dead leaves – a nod to the films of Hungarian director Béla Tarr, which reveal the thin veil between our surroundings and being, through characters often in perpetual motion. If there were references to Hungarian and Bulgarian military uniforms – including a new Asics tabi-soled military sneaker-boot – it was to the idea of purpose and repurposing in clothing, transmuting with body and time.

Dries Van Noten

As a gentle changing of the guard, Dries van Noten presented a collection from the studio team, styled by the incoming creative director Julian Klausner, and then photographed by Willy Vanderperre – a Belgium family affair. If William S Burrough’s novel The Wild Boys was cited as inspiration, it was translated to the port city of Antwerp in a collection that, with its sailorly references, was considerably darker than what the brand is known for. Signature flairs of subtle elegance tempered and smoothed, however, the transition: regal purple lining was hidden within overcoats and blazers, plasticised threads resembled delicately pressed feathers, lapels were adorned with brass-pinned flowers – then all tied together with shoestrings as belts.

Read our story on the collection here.

Wales Bonner

Wales Bonner’s collection Selah – released via a lookbook shot by Oliver Hadlee Pearch – affirmed her increasing multidisciplinary approach to fashion as just one branch of her vision. Based around her friendship with Chicago-based artist Theaster Gates and his work on The Black Image Corporation, a project preserving the archives of the Johnson Publishing Company, Wales Bonner selected images of Black women from the archive’s collection of Ebony and Jet magazines then photographed and printed them onto denim jacquards and cobalt blue shirting. When interleaved into the collection’s elegant, tailored sportswear, these pieces showed Wales Bonner’s for unparalleled talent activating knowledge and history through sartorial codes.

Feng Chen Wang

Appearances were not quite as they seemed at Feng Chen Wang’s A/W25 presentation – and the hint to look twice was in the funny dragon-like creatures that the models cradled down the runway. These ceramic interpretations of mythical creatures from the ancient Chinese text, Shan Hai Jing, handcrafted by Wang in collaboration with traditional artisans, marked her appetite for the illusory: trousers and jackets were crafted from bonded neoprene resembling twill, Ugg shoes were embellished as fantastical sculptures, and textiles hand-painted like traditional ink drawings. Even the knitwear contained barely-there ceramic trinkets.

Amiri

Mike Amiri never veers far from the storied history of his Los Angeles heritage, and the recent devastation wrought by the wildfires only added a pertinence to his collections as archive. For many of the inner haunts of 1960s and 70s Hollywood, and the accompanying memories that were inspiration for his A/W25 collection were threatened. Styled by Another Man editor-in-chief Ellie Grace Cumming, the collection perfectly indulged the suave glitziness of that era with glittered knitwear, velvet suiting, gaudy ties, and embroidered bomber jackets. But then in typical Amiri form, the use of colour and textile – aubergine and chocolate leathers, Prince of Wales tweeds – smoothed any extravagance into a balanced elegance.

Comme des Garçons

“To hell with war,” Rei Kawakubo declared bluntly after her A/W25 Comme des Garçons Homme Plus collection, which continued her apparent anger at the state of global affairs.  If the clothes were very clearly militaristic, they were deconstructed, in a way only Kawakubo can, to speak directly from her emotional resistance and defiance of the cruel use of human bodies as warfare. Helmets were flowered, wrapped in off-kilter patchworks of fabric, while the khaki greens of military attire were torn, spliced – sometimes entirely replaced – by fierce swathes of colour. Punk references, like multizipper trousers and tartan textiles, so distinctly Kawakubo, also proved the historical subversion of military sartorial codes as a form of protest.

Hermès

The show notes for Hermès’ A/W25 collection punctually listed every shade of colour (mainly, browns) used in the show. Creative director Véronique Nichanian is, after all, a master of precise palette but this season her selection of “deep and strong colours” where used to “give energy” to our dark times. If the designer stayed faithful to her perfectly cut, straight-arrowed silhouettes, it was again colour – a swathe of fabric placed on jackets, horse blankets used as liners – that added elegant depth and dynamism to the collection. Even her classic, well-proportioned suiting (complete with a tie) appeared vital in a world where such dressing has become rather obsolete.

Dolce & Gabanna

If the term ‘paparazzi’ was coined by director Federico Fellini in his 1960 masterpiece La Dolce Vita, it was a fitting show title for Dolce & Gabbana – designers who have become synonymous with this very Italian way of life. There was, suitably, a throng of paparazzi at the end of the runway but the term seemed more apt as a reference to the delicious old-world ease embodied in the film: each silhouette had a self-asserted confidence, in no way flaunted even when it came to the dark purple sequined blazers and plush fur overcoats. The show closed with a series of sharp black tuxedoes, affirming that Stefano and Domenico are still, perhaps, the best tailors in the fashion game.