Here we go again, fashion fans. The AW25 show season is in full swing and, thanks to a change of date from New York Fashion Week (more on that here), longer than ever. Not sure you’ve got the stamina to follow the shows from early February all the way through to April? Good news: we’ll be bringing you all the must-see looks and hottest trends from the AW25 collections right here. Simply bookmark this page and keep checking back for all the latest from New York, London, Milan and Paris. You’re welcome.

McQueen

McQueen may have undergone a quiet rebrand to drop the ‘Alexander’ recently – but this may well be Seán McGirr’s most Lee McQueen collection to date. Brimming with the gothic beauty, Savile Row-inspired tailoring and incredible craftsmanship that set the eponymous designer’s collections apart, for AW25 McGirr took inspiration from dandyism, explaining: “To me, dandyism is the ultimate act of adornment; deeply personal, playful and transgressive. It raises questions of character and identity, idealism and gender. I wanted to explore the enduring relevance of the dandy’s radical spirit in our modern world.”

McGirr’s dandies, however, were not foppish or ridiculous in their extravagant adornment. Instead, they cut striking figures with crisp silhouettes, and dramatic ruffles and flourishes, and exuded opulence in lush fabrics and glimmering embellishment. Rendered in a largely dark palette of black and plum, interspersed with pops of lilac, crimson and icy green, textured laces, wools, silks, shearling and jacquard spoke to a collection designed for anything but the everyday. Everything a McQueen collection should be, then.

Ferragamo

Maximilian Davis made his name at London Fashion Week with exubaerant shows that blended traditional runways with contemporary dance and performance art. Now in Italy steering the creative ship at Ferragamo, Davis continues to draw inspiration from the world of dance and, specifically, the expressive work of German Tanztheater. “The Twenties were a moment of freedom, of people rebelling and creating spaces for themselves,” says Davis. “The surrealist idea of taking everyday objects and making them feel a little disturbed is something I feel very interesting. Creating a sense of discomfort in the expected.”

On the catwalk this translated to oversized accessories and shoulders, dresses patchworked together from strips of fabric and fur, and roomy tailoring playing on the era’s pinstrip suits and overcoats. A broadly grey, brown and black palette of tweeds, silks and wools is interspered with flamboyant scarlet feathers and floaty organza, giving the overall impression of a well-rounded wardrobe. Also introducing new versions of the brand’s signature Hug bag and a fresh wedge show silhouette, this is an accomplished collection with much to covet.

Max Mara

Max Mara may be a quintessentially Italian house but, fittingly for one that specialises in cashmere knitwear and overcoats, there was something distinctly British about its AW25 collection. Opening its shows notes with quotes from Jane Eyre and Wuthering Heights, what followed was a collection designed for the romantic, bold, passionate heroine, given to letting her heart rule her head and always wrapped in layers of tweed and wool. Colours were the real story here and the show was offered in chapters of hues inspired by the Brontë's native Yorkshire: deep burgundy giving way to charcoal, mustard, moss green and eventually black. It was all deep chic and highly covetable; I'm already compiling my dream shopping list.

Fendi

A centenary is a big moment for any brand but, 100 years on, to still have a scion of the original founding family at the helm — as Fendi does in creative director Silvia Venturini Fendi — it is a truly celebratory occasion. “I didn’t want to spend too much time dwelling on the physical archives," said Venturini Fendi of her AW25 collection for the house. "For me, Fendi 100 is more about my personal memories – real or imagined – of what Fendi was and what Fendi means today.”

It is, of course, natural at such moments to look back and take stock and, accordingly, the collection is full of silhouettes that harken back to the golden age of glamour, when the stars of Italian Cinecittà would gather at Fendi's Via Borgognona boutique in Rome for glitzy evening parties. Mid-length skirts that swish and sway are accompanied by high necklines and cinched waists in lush satins, buttery leathers and sumptuous tweeds. As ever at Fendi, fur abounds — or does it? Long one of the few fashion houses still using the real deal, in a nod to its future-facing otulook, this season's coast were in fact shearling to which intarsia and aptchwork techiniques has been applied to make them resemble fox and mink. It's a neat trick — and one that suggests Fendi may well survive for the next 100 years.

Gucci

Gucci AW25

Presented by the collective Gucci design team after the surprise exit of creative director Sabato de Sarno earlier this month, it, perhaps, came as no surprise that the opening lines of Gucci's AW25 show notes should state that a "fashion house is one that has many owners and guardians: craftspeople and artisans, creative directors and designers, communicators and customers, each with their own histories entwined." With this collection, Gucci is keen to impress that this is not a new beginning, but a continuation of a long and storied history of a house thay will always have signature codes and aesthetics regardless of who's in charge.

With this in mind, the team looked to the sense of inate Italian style known as sprezzatura to inform a collections that, in truth, appeared to walk a fine middle ground between de Sarno's relative minimalism and the OTT retro glam of former creative director Alessandro Michele. The furs, velvets and sumptuous colour palettes that characterised Michele's collections (and are now doing their thing over at Valentino) were back, meeting with de Sarno's clean silhouettes, modern tailoring and sporty aesthetic in reference to key moments for the house: the inception of its womenswear in the 1960s, the creation of the GG motif in 1975, and the debut of the Horsebit bag, which celebrates its 70th anniversary this year. While there's no word yet on who might replace de Sarno in the CD seat, for now at least, Gucci seems to be in safe hands.

Burberry

Burberry AW25 by Daniel Lee

To say AW25 was an important collection for Burberry would be something of an understatement. The British heritage brand's financial woes have been widely publicised and, after four seasons of heavy investment in Daniel Lee's vision in the hopes he would work the same magic that saw him revive Bottega Veneta, AW25 felt almost like a make or break moment. And, to my eyes, it was a show that finally saw Lee in his stride.

Inspired by the 'Friday night exodus' of Londoners clamouring for a weekend of fresh air in the countryside, a gaggle of the capital's most famous faces — Richard E. Grant, Jason Isaacs and Lesley Manville on the runway, the Beckham-Peltzs, Kim Catrall and Ncuti Gatwa off — gathered at the Tate Britain to see Lee's vision for the perfect weekend wardrobe. And while some of his signature irreverance remained (the Burberry knight was brought to life to sit front row and pose with Anna Wintour), this felt like an all together more grown-up outing. Gone were the frog shoes that so perplezed in Lee's earlier season, replaced by gorgeous overcoats and long tweed skirts for stomping aorund muddy fields in, an djacuqard velvet suits and textured evenign gowns for dressing for dinner. This was British country culture on a really chic day — and isn't that all anyone really wants from Burberry?

Chet Lo

First it was low rise jeans, then it was kitten heels, and now Chet Lo is offering up crimped hair as the latest early-Noughties trend due for a revival. If, like me, you happen to be a thirty-something who was there the first time around, this probably all sounds frighteningly familiar. Fear not: the crimped hair in question was less a literal suggestion and more a reference to the signature spiked fabrics on which Lo made his name – and which reappeared for AW25 in a new, more sophisticated guise.

Named Modern Antiquity, Lo used his latest collection to explore colonialist Western interpretations of Asian art and culture, reclaiming traditional motifs of tigers, clouds and flowers and reworking them through repetition and exaggeration into something more authentically Asian. On the runway this was more subtle than it may sound, finding form in bold prints, minimal silhouettes and a red-tinged colour palette that leant more towards burgundy that Lunar New Year scarlet. Also seeing the debut of Lo's first collaborative collection for Converse (sneakerheads, keep your eyes peeled, these will sell like hot cakes), the mood was grown-up and refined with just enough of Lo's playful spirit sprinkled in.

Roksanda

Inspired by the work of British sculpturist Phyllida Barlow, AW25 was a perhaps more experimental collection than we've come to expect from Roksanda, who excels in the type of chic, elegant ladylike dressing that have made her collections go-tos for everyone from C-suite execs to the social set.

Roksanda's masterful way with colour remained, with innovations coming in the form of prints – created from scans of discarded plastic and cardboard mirroring Barlow's own repurposing of found objects – and silhouettes, ramping up throughout the show from oversized tailoring and draped layering to wide structured ruffles. In a nod to the British Fashion Council's newly installed sustainability requirements for all LFW participants, Roksanda also worked with fabric dying and cleaning specialist Dylon to create three looks made entirely from fabrics and trim repurposed from previous collections. A forward-thinking approach that continues to prove why Roksanda remains one of the leading lights on the British fashion scene.

Toga

Presented in a pristine white gallery at the Royal Academy of Art, the space served as a blank canvas on which Toga creative director Yasuko Furuta explored our modern approach to dressing: do we have any need for formal dress codes in our modern moment? And, if informal is now our default mode of dressing, what does it mean to be vulgar?

These questions were most expressly explored in a series of 'micro' skirts that took the form of upholstered inflatable rings. As Furuta wrote in her show notes, "Despite its shortness, it’s not easy to peep inside. What’s on the other side of the ring, only the wearer can know." Elsewhere, icons of formal dress – collared shirts, tailoring, patent leather loafers – were deconstructed and reexamined via offbeat necklines, unexpected embellishment and exaggerated layering. An accomplished, high-concept collection with the end result being a lot of really lovely things to wear? I'm a fan.

Richard Quinn

When was the last time you got properly dressed up? If British designer Richard Quinn had his way, it would be a lot more often. Transforming his show space into a breathtaking winter street, on which (fake) snow fell throughout and models emerged from the facade of a Georgian townhouse, Quinn's AW25 collection was "a tribute to the special moments that define our lives and the timeless elegance of dressing up, heading out… and back home again."

Cinematic, glamorous and unabashedly feminine, Quinn offered up a series of shimmering, intricately embellished and beautifully sculpted gowns made to be cherished, handed down and saved for life's biggest events. No surprise, then, that there were at least ten dresses that could easily be worn as bridal gowns. In a fashion industry dominated by brands vying to be the hippest, freshest thing in streetwear, Richard Quinn's AW25 collection was a much-needed reminder that not everything has to be functional or have a great cost-per-wear. Sometimes truly great fashion is just about beauty, emotion and the way a great dress can make you feel.

Di Petsa

Named Reflections of Desire, Di Petsa's AW25 collection was not merely about eroticism (although there was plenty of that — at one point a model kissed a showgoer), but also the cultural and societal norms, associations and archetypes we have ascribed to desire. It's a topic of exploration that suits Di Petsa, which made it's name on figure-hugging, almost intimate, wet-look designs, and resulted in a presentation that felt at times more performance art than fashion show.

A co-ed collection, Dimitra Petsa set out to reimagine male desire archetypes — the knight, the cupid, the poet — through the female gaze, creating characters that oscillated between muscled and masculine and tender and devoted. Women, meanwhile, we're sculpted as if Greek goddesses, revelling in their own beauty and power. Which, to be fair, may not sound like something you'd necessarily want to wear day-to-day. As with every Di Petsa collection, though, taken seperately, each piece is thoughtfully constructed and suprisingly wearable (well, except maybe the three-foot-wide angel's wings).

Mithridate

Chinese fashion house Mithridate has been showing around London Fashion Week for some time now but, under the guise of new creative director Daniel Fletcher, showed on-schedule for the first time for AW25. Fletcher is something of a London Fashion darling, having trained at Central Saint Martins before becoming second in Netflix's Next in Fashion, and his (still operating) eponymous brand is one of LFW's hottest tickets when it appears on the schedule. The marriage of Fletcher's creativity and solid design training with the cash injection afforded by the Chinese brand (Vanessa Williams and Nicola Roberts sat front row while the brand hosted Sheila Atim at a dinner later in the evening) may just be one made in heaven, then.

On the runway there was much to covet and this collection will undoubtedly be a commercial success. The show notes spoke of a moodboard that married British heritage as seen through the lens of Richard Curtis film — preppy stripes, pastel hues, lots of coats — with Chinese craftsmanship and culture (one sailor suit-inspired look had a distinctively donghua-meets-infant-Prince-George feel to it). Layering was a big theme, with a nerdish take on silhouettes and clashing colours leant an urban edge via tough prints and louche styling. Stay tuned: this won't be the last you hear of Mithridate.

Carolina Herrera

Inspired by the classic 1979 film Being There, creative director Wes Gordon looked to the naivety of Peter Seller’s character Chance the Gardener, and the purity of the love and care he showed for his garden, to inform a feminine collection of floral jacquards, ladylike silhouettes and elegant tailoring. Rendered in a sophisticated palette of deep reds, purples and blues, grey pinstripes, and metallic embellishments, taking its cues from Sonia Delauney’s Rhythm Colour – a favourite painting of Gordon’s – the designer explained that he hoped to capture that ephemeral moment of ‘coming together’, when everything in a garden is at its most beautiful. Consider this your slice of spring-like optimism when the nights begin to draw in next September.

Michael Kors

Shown at New York’s Terminal Warehouse, once the location of iconic 1990s nightclub Tunnel, Michael Kors channelled ‘dégagé chic’ for his AW25 collection. And what exactly is that, I hear you ask? According to Kors, “This show was inspired by the laid-back elegance that imbues the spirit of our homes. Timeless, warm, modern, architectural yet sensual, I wanted the collection to exemplify cosy modernism and hands-in-the-pockets chic.”

In practice, that translated to louche tailoring, oversized knits and long, lightweight layers imbued with the kind of cool girl insouciance that’s hard not to covet. Presented to a FROW of real-life cool girls, including Uma Thurman, Kerry Washington, Rose Byrne and Suki Waterhouse, it might not have been a groundbreaking collection – but that hasn’t stopped us wanting everything.

Marc Jacobs

New York Fashion Week’s original disruptor, never one to follow the rules, Marc Jacobs showed his Spring 2025 collection mere days before the start of the AW25 New York Fashion Week, with a show that made no distinction between the seasons, merely being called ‘Runway 2025’. Confused? Never mind, all you need to know is that it was an exquisitely colourful show that indulged Jacobs’ most OTT tendencies.

A doll-like beauty look designed by Pat McGrath complemented exaggerated proportions, candyfloss colours, cartoonish silhouettes (note the Minnie Mouse-style shoes) and exaggerated prints. Was it particularly wearable in the everyday sense of the word? Of course not – that’s not why shoppers continue to flock to Jacobs – but it was fun, and isn’t that something we could all do with right now?

Lanvin

One of a number of AW25 collections presented, not during the traditional ready-to-wear calendar, but in line with Spring 2025 Haute Couture Week, Peter Copping’s debut collection for Lanvin paid homage to the eponymous designer as muse and style icon. “This collection is deeply personal – an homage to Jeanne Lanvin’s world and her intimate sense of style,” explained Copping. “I sought to project the essence of her wardrobe today while imagining it on a cast of modern characters – which I hope you’ll enjoy to discover.”

Named À La Maison, the Lanvin AW25 collection reimagined archival designs and riffed on Jeanne Lanvin’s signature shade of blue, as well as introducing entirely new collections of bags and shoes shaped by the letters ‘J’ and ‘L’. The spirit of the 1920s – a heyday for Jeanne Lanvin and the era in which the house’s famed Paul Iribe mother and child logo was created – is also evident in party-ready embroideries, vibrant prints drawn for the interiors of Lanvin’s home, and a palette of rich jewelled tones and textured fabrics. An undeniably confident first outing that suggests good things to come.

Patou

Also shown during Spring 2025 Paris Couture week, French heritage fashion house Patou renamed the season AW.25 – explaining in its show notes that this was a code inviting the wearer to ‘explore what lies beneath the surface; to dig deeper, to understand better’. So far, so conceptual. In truth, the clothes themselves had strong ‘spy’ vibes: sharp tailoring, longline trenches, a largely monochrome palette with pops of scarlet and burnt orange. Functional but fashionable, all business but with a lightly sporty edge, luxe but not overly extravagant, under creative director Guillaume Henry, the once dormant Patou just keeps getting better.

Ami

Kicking off the AW25 ready-to-wear season with a co-ed show presented in Paris this January, founder and creative director Alexandre Mattiussi explained that his latest collection was inspired not so much by a certain period or aesthetic but by a wish to imbue his wearer with a sense of positivity and empowerment. “This collection is about creating a safe, positive space – through a wardrobe that is sophisticated but never pretentious,” he wrote in his show notes. “It is a celebration of balance: romance meets elegance, elegance meets casualness. Each piece tells a story, timeless and intergenerational.

“Fashion is about making people feel good: this collection is about making every woman beautiful and every man charismatic, in a series of looks that feel free, lively, and irresistible. It is a combination of modernity and heritage, designed not just for today, but for the future.” Offering up a series of luxe fabrications, understatedly sophisticated neutrals, and soft silhouettes for both men and women, our verdict: mission accomplished.

Read more: How to get involved in London Fashion Week AW25