CHAPTER 1: ASHISH A/W 25 and The Warmth of Sequins

‘THE END IS NEAR’ was written on a cardboard banner proudly held up by one of the models walking down the runway in a bright oversized sweater and a sequin skirt from the charismatic new ASHISH A/W25 collection titled ‘Crisis of Confidence’. Ashish Gupta entered the 2025 Fashion Week with a clear statement, allowing his audience to experience uncertainty and commenting on the fragility of all achievements. This collection and its very relevant message come after the designer’s two-year break from presenting at LFW and his recent launch of an e-commerce website, which became a necessity after the closing down of Matches (where the brand presented its designs exclusively). But I didn’t know that at the time. When I was sitting at the show, watching one piece after another pass me by, I could feel the extravagant garments struggling with the unpredictability of life. I did not need the collection’s name or the aforementioned banner; something in me just knew. Honestly, after feeling the collection’s message through the clothes, the banner felt a bit on the nose (this is a joke; don’t come for me; I actually thought it was a cool feature in the show).

Whether it’s independent or emerging designers, all the mediums in which they present their work, from their socials to their shows, seem more interactive and honest. After looking at the carefully curated content and collections of big legacy brands, you begin to suspect that all ‘authenticity’ is staged. You might not always see beyond what the brand’s team wants you to see, but you can always feel. When I was sitting at the ASHISH A/W25 show, I saw the audience interact closely with the clothes, and I felt.

An underlying comfort exists when a designer invites the observers into the conversation. There is no fear of sending messages with the work or even writing them out. There are no commercial undertones in the messages. The T-shirt spelling out “Wow, What a Shit Show” and its subtext created more of an impression on me than a lot of other brands’ previous attempts to project an important statement directly onto the clothing. Whether the idea a brand is trying to convey lands or becomes a commercialised caricature of itself often depends on the transparency of the brand itself.

CHAPTER 2: YAKU A/W25 – Entering The Mind of a Designer

YAKU A/W25 collection ‘The ImPossible Family Reunion in RPG Space’ – Chapter 5: Sunset on Tutorial Island’ was creatively personal. The show offered attendees insight into the designer’s journey as he created the collection. This was the fifth instalment of the designer’s series ‘The ImPossible Family Reunion‘. Each character embodied a fantasy-like member of the designer’s family, whose journey and development throughout collections was highlighted with Yaku Stapleton’s daring designs.

This collection allowed the audience to get to know Yaku personally. The intimate, interactive experience will stay with those who attended the show for months to come, and every time they see Yaku’s designs, they will immediately be brought back to the moment where, for a brief period, they interacted directly with the designer’s mind. Although I will forever view the show as an independent and incredibly original project, the intricacies of the set-up made me wonder if any high fashion brands would even dare to put something so remarkably singular out. And if they do, will it be approached with the same intimate sentiment?

The enticing and unique format of Yaku’s show came from a personal place. When I see bigger brands attempt to immerse the attendees into a new reality as a part of the show, I am unsure whether they are trying to create a space that will help convey the collection’s tone or simply chasing a viral moment.

CHAPTER 3: Up-And-Coming Designers – Work Emerging From an Honest Place

Many up-and-coming designers do not have access to the same resources as more established brands, yet this pushes them to find more diverse ways of realising their vision and brings forth innovation. It makes me wonder how much more they could achieve and how many new ideas they could bring to life if they had unlimited access to resources. Or is it the opposite? To gain that access, you need to work and collaborate with bigger companies, which can come with a set of limitations.

Two weeks ago, MKH released interviews with Selin Yücel. and Morgan Widmer, two emerging designers presenting at the LCF Graduate Showcase. Both designers drew heavy inspiration from their backgrounds and referenced their past experiences through their work. Selin Yücel’s collection used the traditional craftsmanship of Turkish felt making as a basis, with heavy 70s references inspired by her grandfather immigrating from Turkey to Germany as a gastarbeiter to escape poverty in the 1970s. Morgan Widmer utilised shapes and clothes she observed in her hometown, a small town in West Virginia, US, adding her creative take on them.

In both Selin and Morgan’s cases, the inspirations, which only added more depth to their designs, seemed genuine. But if I saw the same references made on the high fashion runway, especially if they did not coincide with a certain announcement or special occasion, I would question whether the brand is actually paying homage to its roots or trying to capitalise off the forever-present feeling of nostalgia.

So maybe these limitations come not only from certain stylistic boundaries that legacy brands must uphold to retain their pre-established place in the world of high fashion but also from the audience’s perception. Or do I just need to work on my trust issues?

CHAPTER 4: Independent vs. Legacy Brands – An Analysis, Not a Comparison

I would love to end up at a high fashion show someday, watching years of history come alive in a single moment and seeing worlds collide as a brand honours its legacy, mixing it with a fresh vision of a new creative director. But I am not sure I will feel the same freedom to appreciate the work or the clarity to see the message behind it.

This LFW, during the show titled ‘Morocco – Kingdom of Light’, two designers, Maison Sara Chraïbi and Maison Artc, presented their new collections. While incredibly different, both collections carried a signature, a combination of creative choices that made the brands easily identifiable. Maison Sara Chraïbi unveiled ethereal garments that glistened as they moved through the room. Maison Artc rendered the audience speechless with bright, daring silhouettes and beautiful embroidery on various extravagant fabrics.

I know every brand has a unique style. When you look at an article of clothing, you immediately recognise the staple shapes, colours and accessories. But in these confusing times, even fashion brands can fall victim to trends. Sometimes, it becomes hard to tell their pieces apart unless you are intimately familiar with the brand’s identity. In trying to redefine themselves, some legacy brands risk losing their niche.

More than just a signature style, many independent brands come into the industry with a mission statement and a vow to their consumers. Recognising the re-occurring problems within the industry, a lot of new brands come with a promise of transparency and sustainability.

Taiwanese designer Ray Chu’s A/W25 collection ‘The Eternal Resilience of Blue Cypress’ made a statement on the endurance of the natural world. The brand drew inspiration from Blue Cypress trees, symbolising resilience and determination. Ray Chu’s key messages of diversity and sustainability ring true in every collection they release.

Perhaps the message only appears more clear and transparent in independent brands because it was always a part of their initial statement and not a reaction to previous issues. Then, it can become harder for older brands to demonstrate the same sincerity since they do not have the luxury of a clean slate. That doesn’t mean they shouldn’t do it, though. On the contrary, they should try harder to fix pre-established patterns and build a better future.

A certain level of intimacy is created when a brand comes directly from its original designer. Of course, there are a lot of creative directors whose names became synonymous with the brands they have re-envisioned over the years. I can’t think of Loewe without immediately thinking of Jonathan Anderson’s daring yet dynamic vision for the brand (p.s. i really hope all the rumours about him leave are not true, him and Loewe are such a good match), and the work Daniel Roseberry does at Schiaparelli has taken my breath away collection after collection. Speaking of Daniel Roseberry, the most recent collection he has presented during PFW has as much of him, his history and his identity as it does of Elsa Schiaparelli’s original elegant vision for the brand (sorry for the detour; I just had to mention it).

If you think about it, each new creative director taking the lead at a legacy brand has symbolises a new era for the brand, full of originality that only they can bring. Yet, sometimes, I still look at the designs and feel the brand more than the designers themselves, as they are still creating under the umbrella of a pre-established legacy. This same legacy might cause designers to reign in their self-expression in favour of the brand’s fixed identity. If a balance is reached, it also allows them to re-introduce trends, become inspired by the past while bringing it into the present and sprinkle a fun homage into their modern vision.

CONCLUSION: So, What Now? – Did I Get My Answer

So, are independent brands the only ones who can display true originality? After analysing, contemplating, and, okay, maybe directly comparing a little bit, I still remain of two minds.

On the one hand, I think any creative process requires a certain level of independence, whether from a parent company, existing legacy, or even age-old traditions. For example, some newer designers present their collections in increasingly interesting ways, whereas legacy brands often stick to standard runway presentations. These presentations can occasionally come off as slightly cold and distant; maybe that is their way of highlighting their inaccessibility. In my limited experience with attending shows, they always make more of an impression when the audience becomes part of the experience instead of just an observer.

On the other hand, maybe the only difference is that independent and emerging designers are telling their own stories, while creative directors of legacy brands are giving their fresh take on a story that has been continuously told throughout the years. If that’s the case, both can exist independently. Preserving and re-envisioning stories that spin generations is as important as telling new ones. With each designer ushering in a new era for a brand, they bring a part of themselves—reflected in their designs—though sometimes these inspirations are more subtle.

To be honest, these comparisons might not make any sense coming from someone who has never attended a show of a high fashion brand. Maybe the impressions you get from their shows overshadow any doubts about authenticity or originality. It just takes your breath away, depriving your head of oxygen to the point where you can only gasp for more of the collection to be inhaled. If this story reaches someone with an in at a high fashion show… well, hit me up.

All of these opinions come from someone who simply loves fashion and enjoys posing questions that, in the end, cannot or should not be answered. Even though I did not get a clear answer to my question (and I never really planned to, to be honest), I hope this think piece gave you some unconventional insight into my impressions of the A/W25 fashion week.