HEROINE magazine (2025)

08/10/2025

Another season is done and dusted! If you count the official beginning of fashion week as the moment the first model stepped out for Michael Kors’ runway on Sept 11th, then SS26 fashion “week” has lasted 26 consecutive days.

The highlight of this season was the abundance of debuts, mostly focused in Paris. What these debuts meant was that most of the fashion pack — the journalists, the buyers, the influencers — approached the season with little knowledge of what was in store.

Some debuts, such as Jonathan Anderson’s first womenswear collection at Dior, made global headlines. Others, such as Pierpaolo Piccioli’s debut for Balenciaga and Haider Ackermann’s womenswear debut for Tom Ford, suggested that these legendary houses had been left in capable hands. Some provoked strong reactions, like Glenn Martens at Maison Margiela and Duran Lantink at Jean Paul Gaultier. While others, like Jack and Lorenzo at Loewe and Matthieu Blazy at Chanel, signalled an exciting new chapter for their brands.

Read our full breakdown at hero-magazine.com

07/10/2025

Richard E. Grant: Boy. Who’d have thought? And yet, there he was – in a slouchy knitted pullover, a colourful cravat, and a black leather apron, looking perfectly at home. To be fair, it made sense. There’s an intellectual preppiness about him, a dishevelled bohemian edge that aligns neatly with the brand’s codes. And he wasn’t alone. Oscar-winner Sandra Hüller appeared in a thick, factory-issue workwear jacket and a utilitarian blue apron. Milla Jovovich wore a ruffled cotton version; model Cortiza Star had on a sleek, tan leather iteration.

Can you spot the common thread? Aprons.

Yes, Miuccia Prada has long been fascinated by workwear and domesticity, but here, it was front and centre. Guests were seated on Formica tabletops, and you wouldn’t be surprised if feather dusters or oven mitts peeked from the models’ back pockets. But this wasn’t parody – it was nuance. It was ‘Women’s Work’ explored, reframed, and subverted. “Work as an expression of effort,” read the show notes. “Work as a symbol of care and love. Work as a reflection of independence, a means of agency.”

Head to hero-magazine.com to read the report in full.

06/10/2025

As social, economic and political strife rage on, where is the light at the end of the tunnel? In the gloom of the modern world, where does fashion find its place? According to , the answer to these questions can be found in the work of Pier Paolo Pasolini. At yesterday’s show, the designer took us back to 1941, inspired by the letters penned by the Italian poet under the rule of fascism throughout the decade. “The night I told you about, we saw an immense amount of fireflies, they made little woods of fire inside little woods of bushes and we envied them because they loved each other, because they longed for each other through amorous flights and lights,” reads the letter. Pasolini’s depiction of fireflies lies at the centre of Michele’s SS26 Valentino offering, finding the light through cracks in the darkness, discovering joy, pleasure and beauty in the toughest of times.

Guests returned to the Institut du Monde Arabe, transformed last season into the infamous red bathrooms, now reimagined as a pitch-black space with tiered seating. Despite its darkness, the flurry of camera flashes alerted attendees when Michele’s front row stars arrived – including Lana Del Rey and husband Jeremy Dufrene, Colman Domingo, Pamela Anderson, Clairo, Sophie Thatcher and Joseph Quinn. As the show began, a voiceover by Pamela Anderson introduced the work of Pasolini, alongside the decades-later contrasting views of art historian Georges Didi-Huberman, contextualising the collection as it hit the runway. Propeller-like strobe lighting darted across the ceiling, and a meditative techno beat pulsed as the first of 80 looks appeared from behind the curtain.

Head to hero-magazine.com to read the report in full.

04/10/2025

From one debut to another! As Loewe creative director Jonathan Anderson made his mark on Dior, his successors, and , stepped into their new roles at the helm the following day. Inviting guests to Parc Cité Internationale Universitaire de Paris on the outskirts of the city, a large white box stood at the centre of the site’s pristine gardens, with an A-List front row including the likes of Parker Posey, Pedro Almodóvar, Sarah Paulson, Solange Knowles and Tracee Ellis Ross in attendance.

Prior to the show, the former Proenza Schouler designers teased their debut collection in a series of sun-drenched images by Talia Chetrit, unveiling a new cast of faces such as Lewis Gribben, Eva Victor and Isla Johnston alongside shots of wet t-shirts, bikini bottoms and cherries. The collection that hit the runway alluded to that same energy, a vibrant, saturated series of skin-baring looks and graphic silhouettes which alluded to sunnier climes. Hot pants were paired with sculptural leather jackets, slouchy five-pocket denim jeans were worn with nothing but a jumper slung over the shoulders, and rigid mini dresses held an hourglass shape. Touches of sportswear came through in technical anoraks and tank tops, walking alongside sweeping fuzzy outerwear, beaded skirts and streamlined trenches – immortalising the duality of the Spanish house’s enduring codes.

03/10/2025

Continuing his now-signature seasonal template, presented this season’s collection as the sister show to his men’s outing in June. Titled Temple, both collections coincided with the opening of Rick’s retrospective at the Musée Palais Galliera right by his usual outdoor show space at the Palais de Tokyo.

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02/10/2025

Three sisters in matching outfits catch the spotlights on their sequins. They pause and look around.
They look at you. They move on. The soundtrack pulses, gaining momentum. The party saunters out. They walk alone or in packs, each footstep seeming purposeful. “He is nightlife, I am the morning after.” A phrase repeated from the first show. “He” is . The morning after is Haider Ackermann (.a)
We’re in a club, somewhere. We’re not sure how we made it past the door. Why is everyone wearing sunglasses inside?
There’s women wearing full leather. The men are in jock straps. They’re black and you can see them through their shorts. Where are they coming from and where are they going?
Mariacarla Boscono arrives in a black dress held up by gravity. Susie Cave in a white nightgown, or papal vestments.
A group wearing the same silhouette three times. Pink, green, and white. Again, they stop. They look at you. A blue dress, cobalt blue, clasped around the shoulders like it was clicked on. Then, it all ends.

02/10/2025

Three sisters in matching outfits catch the spotlights on their sequins. They pause and look around. They look at you. They move on. The soundtrack pulses, gaining momentum. The party saunters out. They walk alone or in packs, each footstep seeming purposeful. “He is nightlife, I am the morning after.” A phrase repeated from the first show. “He” is . The morning after is Haider Ackermann (.a)

We’re in a club, somewhere. We’re not sure how we made it past the door. Why is everyone wearing sunglasses inside? There’s women wearing full leather. The men are in jock straps. They’re black and you can see them through their shorts. Where are they coming from and where are they going?

Mariacarla Boscono arrives in a black dress held up by gravity. Susie Cave in a white nightgown, or papal vestments. A group wearing the same silhouette three times. Pink, green, and white. Again, they stop. They look at you. A blue dress, cobalt blue, clasped around the shoulders like it was clicked on. Then, it all ends.

02/10/2025

.anderson’s Womenswear debut was pure cinema. From the front row - the likes of Jenna Ortega, Anya Taylor-Joy and Jennifer Lawrence – to the Luca Guadagnino movie that started the show, to the abstract silhouettes that reimagined archive icons.

“Do you dare enter the house of Dior?” read the Guadagnino movie in bold horror lettering. Establishing a new dawn, it was clear Anderson was stepping into the future of the house with all those who had come before him in mind, honouring its legacy through his progressive artistry.

Read our full report at hero-magazine.com

01/10/2025

Before today’s runway presentation in Paris, shared photos taken on her phone during the show prep - from fittings in Copenhagen to last minute walkthroughs. Scroll through…

30/09/2025

At this season, guests sat beneath the looming presence of the Eiffel Tower as models walked around hedges of hydrangeas arranged in the shape of the YSL logo.

On the runway, looked again to Robert Mapplethorpe and his leather-clad wardrobe. Thick leather coats and skirts, cinched with heavy belts, were paired with anonymising sunglasses and statement earrings.

The collection then turned to a series of sheer fabric trenches, buttoned all the way up with buckled-closed collars. These were cinched with judo belts to help bolster the distinctly 80s silhouettes.

Then, drama. A grand finale of ruched and ruffled dresses. These dresses had huge billowy shoulders and ruffles like foxgloves cascading down, each feeling more decadent and opulent than the one preceding it.

The show notes ended with the collection’s raison d’être: “This show asserts that clothing is both a visual and symbolic argument. Beauty is plural. Aesthetics become a language of resistance, respect, and inclusion.”

30/09/2025

At this season’s Milan Fashion Week, lightness wasn’t just an aesthetic – it was urgent. Across the city, designers embraced softness, playfulness and ease to navigate heavier undercurrents, offering both escape and resistance.

29/09/2025

Inside Heroine 23, is in conversation with .cargle, two powerful activists coming together to discuss rest, resistance and community building.

Head to hero-magazine.com to read the conversation in full.

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HEROINE magazine

08/10/2025

07/10/2025

06/10/2025

04/10/2025

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02/10/2025

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