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Time Business News
26-05-2025
- Entertainment
- Time Business News
The Art of Avant-Garde: How Raf Simons and Comme Des Garçons Are Defining Fashion in 2025
In the ever-evolving landscape of fashion, few names carry the cultural weight and stylistic edge of Raf Simons and Comme Des Garçons. As we move deeper into 2025, these two avant-garde powerhouses continue to shape not only what we wear, but how we think about clothing, identity, and creativity. With American fashion enthusiasts constantly seeking innovation and meaning in their wardrobe choices, Raf Simons and Comme Des Garçons stand at the forefront of a movement that is anything but conventional. Belgian-born Raf Simons has long been considered one of the most influential figures in modern menswear, and his impact is only growing stronger in 2025. After transformative roles at Jil Sander, Dior, and Calvin Klein, Simons has returned to focus on his namesake label—one that blurs the lines between subculture, rebellion, and high art. What sets Raf Simons apart in the U.S. fashion market is his ability to merge intellectualism with streetwear. This unique balance resonates deeply with Gen Z and Millennial consumers who are looking for more than just aesthetics—they want storytelling. Raf's latest collections are filled with post-punk motifs, oversized tailoring, and emotionally charged graphics that speak to a generation navigating social and political complexity. His influence goes far beyond the runway. In New York and Los Angeles, Raf Simons pieces are regularly seen on celebrities, stylists, and cultural tastemakers. His designs have become a symbol of introspective cool—a wearable philosophy that appeals to thinkers, creatives, and those who see fashion as a form of protest or self-expression. Comme Des Garçons: The Art of the Unexpected When it comes to challenging the norms of fashion, few do it with the consistency and confidence of Comme Des Garçons. Founded by Rei Kawakubo in 1969, the Japanese brand continues to be a pillar of experimental design, pushing boundaries in ways that few Western labels dare to try. In 2025, Comme Des Garçons remains a cult favorite across the U.S., celebrated for its uncompromising approach to form, fabric, and function. Kawakubo's ethos is rooted in defiance—against trends, gender norms, and consumer expectations. Each season brings forth collections that explore themes like deconstruction, asymmetry, and androgyny. In a market oversaturated with minimalism and fast fashion, Comme Des Garçons offers a refreshing, albeit provocative, alternative. From New York city center boutiques to San Francisco fashion avant-garde, Comme Des Garçons is an American favorite among those who seek uniqueness. Its diverse lines—from its main collection to PLAY and Homme Plus—enable consumers to approach its world from multiple points of entry. Whether you're sporting a heart logo tee or a puffy, architectural coat, you're contributing to a conversation about what fashion is, not merely what it is supposed to be. Raf Simons x Comme Des Garçons: A Contrast and Harmony Study Despite Raf Simons and Comme Des Garçons being from various cultural influences and design philosophies, where they come together is where fashion is most interesting. One feeds on youth culture and revolt, the other on abstraction and creativity. But both work with an intellectual drive that makes them stand out in today's fashion-cluttered landscape. For U.S. consumers, especially those in cities like New York, Chicago, and Los Angeles, these brands offer an antidote to mainstream fashion. Their influence can be seen in independent boutiques, on fashion-forward college campuses, and increasingly, across social media platforms where fashion serves as a language of individuality. The 2025 consumer has very high expectations as the dawn of digital expression ushers in authenticity, creativity, and substance. It isn't hard to find alignment with such values: Comme Des Garçons and Raf Simons. After all, the best way to tell a story uniquely your own is through archival items strategically curated with the utmost care or maybe discovering new drop buyers on resale platforms like Grailed or SSENSE. The Future of Fashion in America: Why These Brands Matter Now More Than Ever In an era where fashion is more democratized than ever, Raf Simons and Comme Des Garçons continue to stand out by remaining uncompromising in their vision. As sustainability and authenticity dominate the fashion conversation in the U.S., both brands have maintained their integrity by focusing on quality, creativity, and enduring cultural relevance. Raf Simons has increasingly leaned into sustainable production methods and limited releases, aligning with eco-conscious American shoppers. Comme Des Garçons, meanwhile, has embraced collaborations that reflect its avant-garde spirit—partnering with artists, designers, and even fragrance houses to expand its reach without diluting its core identity. Their continued success proves that there's a growing appetite in the United States for clothing that challenges, provokes, and inspires. For those who see fashion as more than commerce—for those who see it as art—Raf Simons and Comme Des Garçons are not just brands; they're movements. Final Thoughts As 2025 unfolds, Raf Simons and Comme Des Garçons are not merely surviving in the American fashion market—they're thriving. They represent the fearless spirit of modern fashion: unafraid to disrupt, to innovate, and to inspire. For U.S. consumers hungry for meaning, creativity, and identity, these two titans of style are not just relevant—they are essential. TIME BUSINESS NEWS
Vogue Singapore
28-04-2025
- Entertainment
- Vogue Singapore
Here's how embellishments defined Prada's artistry for spring/summer 2025
Prada's spring/summer 2025 collection is an exploration of light, movement and the intersection of technology with craftsmanship. Under the creative direction of Miuccia Prada and Raf Simons, the collection reimagines embellishment as a tool for structure and fluidity. Across the runway, shimmering surfaces caught the light, shifting with every step—a delicate interplay between the organic and the constructed. Each piece reflected Prada's ongoing dialogue between heritage and innovation, where artisanal techniques are redefined through a modernist lens. Among the standout looks was Look 45, a masterful embodiment of the collection's philosophy. At first glance, the dress appears almost weightless, as though sculpted from pure light. Yet beneath its ethereal presence lies an intricate process that merges machine precision with hand-finished artistry. Embellishments reigned this season, from delicate tone-on-tone details to striking, all-over iterations. Courtesy of Prada Embellishments reigned this season, from delicate tone-on-tone details to striking, all-over iterations. Courtesy of Prada Embellishments reigned this season, from delicate tone-on-tone details to striking, all-over iterations. Courtesy of Prada The foundation of the dress is an airy nude tulle, chosen for its ability to disappear against the skin, allowing the embellishments to take centre stage. Thousands of silver sequins are mechanically embroidered onto the fabric in a precise, transparent stitch, forming the first layer of decoration. This mechanised process, however, is only the beginning of the garment's transformation. What follows is an exhaustive display of hand embroidery executed by expert artisans. Mirrors in varying sizes are applied one by one, interspersed with sparkling crystals that bloom into a delicate floral pattern. The final flourish comes in the form of three-dimensional faceted stones, carefully positioned in a seemingly organic yet meticulously planned arrangement. These elements work in harmony, capturing and refracting light, creating a prismatic effect that shifts as the wearer moves. A testament to Prada's mastery of craft, Look 45 from the spring/summer 2025 collection exemplifies the brand's ongoing commitment to fashion artistry, showcasing hours of craftsmanship with silver sequins, mirrors and crystals. Courtesy of Prada Despite its elaborate embellishments, the dress remains fluid. Structurally, this balance is achieved through considered construction techniques. The garment is cut and shaped directly onto a mannequin, where it remains for four hours to ensure the perfect drape. Ribbon tape is discreetly placed along the neckline, shoulders and armholes, reinforcing the structure without compromising the dress's lightness. Every detail—from the precise embroidery placements to the final ironing process—has been executed with an obsessive attention to detail, totalling 24 hours of meticulous craftsmanship. Look 45 is more than just an opulent showpiece; it's a testament to Prada's mastery of craftsmanship and its ability to balance innovation with modernity. The collection honours this ethos, featuring a standout black satin maxi skirt encrusted with Prada's floral emblem, a striking beaded white and brown midi skirt with a red leather strap, and a shift dress adorned with luxurious jet-black feathers. Vogue Singapore's April 'Movement' issue is out on newsstands and available to order online.
CNN
04-03-2025
- Entertainment
- CNN
‘Break the rules': Designers take risks at Milan Fashion Week
To take a risk, or not to take a risk? That was the question at Milan Fashion Week this season. Amid a precarious economic climate, evolving consumer tastes, and a constantly revolving door of CEOs and creative directors that has picked up unprecedented pace of late, the Fall-Winter 2025 collections were a polarizing mix of expanding on existing brand codes and rolling the dice. Many big-name brands opted for the latter. At Prada, co-creative directors Miuccia Prada and Raf Simons spoke of 'liberating traditional ideals of femininity' with a collection that left its usual conceptual polish at the door and conjured an, at times, awkward dishevelment. Simons told reporters backstage after the show that 'liberation comes with risk taking – you cannot liberate if you don't take risks.'. Over at Versace, Donatella looked to the interior residences of her late brother and brand founder Gianni, mining the Medusa, Barocco, and Greca emblems for the padded puffball and 3D-printed A-line silhouettes. Versace didn't host her usual press conference to talk about the collection, but her message in the show notes was: 'Be yourself. Believe in yourself. Break the rules.' (Speculation of a potential sale of Versace from its current owner to the Prada group hung over the show, though Versace has so far declined to comment.) At Tod's, Matteo Tamburini, who presented his third show as creative director, said that he envisioned his Tod's woman to embody 'authentic elegance and charisma that follows no rules,', while at Emporio Armani, Giorgio Armani gave the most literal interpretation of changing up his hand, with playing card motifs popping up as prints, brooches, and embroidery. His show notes relayed that 'dressing is always about taking risks.'. Elsewhere, it was a case of creative consistency. Gucci is currently without a creative director after Sabato de Sarno's abrupt departure about two weeks before the show, and the collection was designed by the brand's in-house team. They opted to focus on Gucci through the ages: see the gold horsebit detailing first introduced 70 years ago, the sleek suiting of '90s Tom Ford, the geek-chic styling of designer Alessandro Michele who left in 2022, and the slinky lace looks recently pushed by de Sarno. Gucci appeared to address this in the show notes, which read: 'A continuum of craft, taste and culture that passes through time, the 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.' At Fendi, third-generation designer Silvia Fendi was back creating both womenswear and menswear following Kim Jones' exit late last year. Celebrating the brand's centenary by having her twin grandsons open the door that the models appeared through, she straddled past and present with a glamorous Fendi familiarity. 'I was looking to the archive – it's such a rich history, it's unavoidable, but I think the best way to celebrate is to deliver a new collection,' she told a small group of reporters before the show. 'This is how it should be (at the brand) and how I was trained. Especially from Karl (Lagerfeld, former Fendi creative director), who never wanted to repeat himself and have retrospective.' Making his debut at Alberta Ferretti after its namesake founder stepped down last year, Lorenzo Serafini didn't stray from the house's romantic style and opted instead to elaborate on it, presenting sculpted Grecian-inspired gowns styled with sharp tuxedo tailoring and a striking pop of Yves Klein blue. Elsewhere, at Moschino, after a few discombobulated seasons following his strong debut, designer Adrian Appiolaza dialed down the conceptual and went cohesive, though there were enough off-beat ideas to stay true to the DNA of the historically idiosyncratic brand. And at Max Mara, long-term creative director and famously voracious reader Ian Griffiths (who marks his 40th anniversary at the brand this year) found his sartorial starting point once more in literature – this time, that of the Brontë sisters. His luxurious swaths of camel cashmere and impeccable close-fit tailoring were designed for the Max Mara woman who is 'more likely to be marching through the corridors of power (than the Yorkshire Moors) but still bringing a dream with her,' he said backstage. Several brands leaned on performance-art to make an impression. At DSquared2, twin designers Dean and Dan Caten had the Grammy-award winning Doechii perform on the runway alongside Naomi Campbell. The British supermodel later popped up on the front row at Dolce & Gabbana, where designers Domenico Dolce and Stefano Gabbana opened the doors of their HQ and had models walk straight off the runway out onto a makeshift catwalk on the street. Meanwhile, as Bottega Veneta waits for the freshman collection of new designer Louise Trotter in September, it hosted an intimate evening with Patti Smith and Soundwalk Collective that saw the American songwriter and poet perform their spoken-word collaboration 'Correspondence' and a moving rendition of 'Because The Night'. As a result of an industry in flux, the era of 'the big fashion week trend' has also gradually lost ground to brands betting on multiple disparate ideas. There are still nuggets to be found if you look hard enough: similarities in Milan were — somewhat symbolically — a chaotic amalgamation of wild fringing, inside-out frayed seams, pleasing bows, and postering big-shoulder energy. But the overwhelming feeling was one of designers searching for — rather than providing — answers. As Simons noted backstage at Prada: 'You never really have an answer, you just challenge yourself and try to push it,' he said, referring to designing collections and working in fashion. In conversation with American Vogue editor Anna Wintour (who said it feels like 'a seismic moment' and 'hurricane season', in regards to the constant change of designers at brands) at the Triennale Museum on Thursday, Versace agreed that creativity was currently being sidelined in a volatile economic environment where risk-adverse brand executives often demand designers focus on more commercially viable styles. 'Being told what to do, being told what's going to sell… I think fashion is creativity and creativity is instinct. If you try to please too many people, too many managers, creativity is gone,' Versace said.
CNN
04-03-2025
- Entertainment
- CNN
‘Break the rules': Designers take risks at Milan Fashion Week
To take a risk, or not to take a risk? That was the question at Milan Fashion Week this season. Amid a precarious economic climate, evolving consumer tastes, and a constantly revolving door of CEOs and creative directors that has picked up unprecedented pace of late, the Fall-Winter 2025 collections were a polarizing mix of expanding on existing brand codes and rolling the dice. Many big-name brands opted for the latter. At Prada, co-creative directors Miuccia Prada and Raf Simons spoke of 'liberating traditional ideals of femininity' with a collection that left its usual conceptual polish at the door and conjured an, at times, awkward dishevelment. Simons told reporters backstage after the show that 'liberation comes with risk taking – you cannot liberate if you don't take risks.'. Over at Versace, Donatella looked to the interior residences of her late brother and brand founder Gianni, mining the Medusa, Barocco, and Greca emblems for the padded puffball and 3D-printed A-line silhouettes. Versace didn't host her usual press conference to talk about the collection, but her message in the show notes was: 'Be yourself. Believe in yourself. Break the rules.' (Speculation of a potential sale of Versace from its current owner to the Prada group hung over the show, though Versace has so far declined to comment.) At Tod's, Matteo Tamburini, who presented his third show as creative director, said that he envisioned his Tod's woman to embody 'authentic elegance and charisma that follows no rules,', while at Emporio Armani, Giorgio Armani gave the most literal interpretation of changing up his hand, with playing card motifs popping up as prints, brooches, and embroidery. His show notes relayed that 'dressing is always about taking risks.'. Elsewhere, it was a case of creative consistency. Gucci is currently without a creative director after Sabato de Sarno's abrupt departure about two weeks before the show, and the collection was designed by the brand's in-house team. They opted to focus on Gucci through the ages: see the gold horsebit detailing first introduced 70 years ago, the sleek suiting of '90s Tom Ford, the geek-chic styling of designer Alessandro Michele who left in 2022, and the slinky lace looks recently pushed by de Sarno. Gucci appeared to address this in the show notes, which read: 'A continuum of craft, taste and culture that passes through time, the 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.' At Fendi, third-generation designer Silvia Fendi was back creating both womenswear and menswear following Kim Jones' exit late last year. Celebrating the brand's centenary by having her twin grandsons open the door that the models appeared through, she straddled past and present with a glamorous Fendi familiarity. 'I was looking to the archive – it's such a rich history, it's unavoidable, but I think the best way to celebrate is to deliver a new collection,' she told a small group of reporters before the show. 'This is how it should be (at the brand) and how I was trained. Especially from Karl (Lagerfeld, former Fendi creative director), who never wanted to repeat himself and have retrospective.' Making his debut at Alberta Ferretti after its namesake founder stepped down last year, Lorenzo Serafini didn't stray from the house's romantic style and opted instead to elaborate on it, presenting sculpted Grecian-inspired gowns styled with sharp tuxedo tailoring and a striking pop of Yves Klein blue. Elsewhere, at Moschino, after a few discombobulated seasons following his strong debut, designer Adrian Appiolaza dialed down the conceptual and went cohesive, though there were enough off-beat ideas to stay true to the DNA of the historically idiosyncratic brand. And at Max Mara, long-term creative director and famously voracious reader Ian Griffiths (who marks his 40th anniversary at the brand this year) found his sartorial starting point once more in literature – this time, that of the Brontë sisters. His luxurious swaths of camel cashmere and impeccable close-fit tailoring were designed for the Max Mara woman who is 'more likely to be marching through the corridors of power (than the Yorkshire Moors) but still bringing a dream with her,' he said backstage. Several brands leaned on performance-art to make an impression. At DSquared2, twin designers Dean and Dan Caten had the Grammy-award winning Doechii perform on the runway alongside Naomi Campbell. The British supermodel later popped up on the front row at Dolce & Gabbana, where designers Domenico Dolce and Stefano Gabbana opened the doors of their HQ and had models walk straight off the runway out onto a makeshift catwalk on the street. Meanwhile, as Bottega Veneta waits for the freshman collection of new designer Louise Trotter in September, it hosted an intimate evening with Patti Smith and Soundwalk Collective that saw the American songwriter and poet perform their spoken-word collaboration 'Correspondence' and a moving rendition of 'Because The Night'. As a result of an industry in flux, the era of 'the big fashion week trend' has also gradually lost ground to brands betting on multiple disparate ideas. There are still nuggets to be found if you look hard enough: similarities in Milan were — somewhat symbolically — a chaotic amalgamation of wild fringing, inside-out frayed seams, pleasing bows, and postering big-shoulder energy. But the overwhelming feeling was one of designers searching for — rather than providing — answers. As Simons noted backstage at Prada: 'You never really have an answer, you just challenge yourself and try to push it,' he said, referring to designing collections and working in fashion. In conversation with American Vogue editor Anna Wintour (who said it feels like 'a seismic moment' and 'hurricane season', in regards to the constant change of designers at brands) at the Triennale Museum on Thursday, Versace agreed that creativity was currently being sidelined in a volatile economic environment where risk-adverse brand executives often demand designers focus on more commercially viable styles. 'Being told what to do, being told what's going to sell… I think fashion is creativity and creativity is instinct. If you try to please too many people, too many managers, creativity is gone,' Versace said.
The Independent
27-02-2025
- Entertainment
- The Independent
Prada reconstructs femininity starting with the little black dress fit for a global 'black moment'
Prada opened its runway show during Milan Fashion Week on Thursday with its take on the little black dress, reflecting what Miuccia Prada called 'a very black moment' in world affairs. 'To work in this difficult moment is really tough,' Prada said backstage. Sidestepping overtly political discussion, she added: 'What we try to do are clothes that make sense for women today." Liberating women Prada's Fall-Winter 2025-26 collection aimed to liberate women from strictly feminine forms. In that way the little black dress series and other runway looks were loosely constructed, not body-hugging. Co-creative director Raf Simons said liberation was in itself an act of resistance. 'You cannot be liberated if you don't take a risk. There needs to be more resistance,' he said. The black numbers gave way to girlish knit dresses in Alice-in-Wonderland oversized proportions, layered over trousers for winter days on the playground. Pajamas made a now-familiar shift to daywear, with button tops tucked into sleeper skirts. Raw seams were intentionally revealed on garments. Waistlines were gathered as if by basting, and could be moved from the waist for a midi-skirt or over the bust for a minidress. 'I would also say that we have rejected a lot of construction," Simons said, specifically construction that restricts movement. Gestures of glamour It's a mix-and-match world at Prada and just about any of the pieces work as separates: Short-sleeve and tube knitwear tops were bedecked with baubles, like found treasures. Men's shirts scrunched messily at the waist, as if they came untucked. Staples were glammed up with faux fur stoles and fur lapels on coats, blazers and a striking lime green poncho. Prada VIPs American actress Hunter Schafer was among the front-row guests, invited in a show of support, the designers said. The trans actress posted recently that her new passport had been issued with a male gender marker. As usual, crowds of fans waited opposite the Fondazione Prada show space to shower adoration on VIPs. Other front-row stars included actresses Juliette Binoche, Gal Gadot, Maya Hawke and Chen Haoyu, along with Japanese singers Jo and Harua and Korean singer Karina. Is Prada shopping? Milan is abuzz with speculation over whether an Italian company might step forward to buy the rival fashion house Versace. Market speculation has focused on the Prada Group, which besides its namesake brand owns Miu Miu, the footwear brands Church's and Car Shoe, and Marchesi 1824 pastry shops. "I think it is on everybody's table," Prada said with a chuckle when asked about the Prada Group's interest.
