Officials Wizard Stitch Abra Cada Bitch Be Gone Shirt
From left, details from the fall 2025 collections of Fendi. Dries Van Noten (2), Gabriela Hearst, and Undercover. Here at Vogue Runway, one of the ways we try to make the runways come alive is by commissioning detail shots of many of the shows. These bring not only accessories and beauty into sharp focus, but also textiles and textures. Below is a collection of closeups from the fall 2025 season that zero in on the abstract materiality of clothing. Like layers of confetti sequins at Dries Van Noten and fringe-rich Erdem shoes. These pairings celebrate the sensuality of materials, pattern play, lavish draping, gesture, shape, and form. Dig in! Last night, Naomi Watts attended the premiere of her new film, The Friend, an adaptation of Sigrid Nunez’s 2018 novel about a woman who adopts her late mentor’s Great Dane. So what better way to pay homage to the film than to dress as the dog herself? This was no 101 Dalmations situation, though. Watts pulled look 33 from Jacquemus’s spring 2025 collection, originally worn on the runway by Irina Shayk. The white dress featured a sleeveless draped top with an open back, asymmetrical waistline, and a full ankle-length skirt festooned with tufts of black hair. While the look was divine on its own, Watts looked even better in the company of her matching canine co-star, Bing, who posed alongside her on the red carpet.Officials Wizard Stitch Abra Cada Bitch Be Gone Shirt
Watts let the outré dress do most of the talking, finishing her look with a pair of white pointy-toe slingbacks. (Bing, for his part, accessorized with a red collar and leash.) While method dressing is a styling trick that has quickly grown stale, this feels like an exception to the rule. Watching her gamely pose with Bing, matching in their white with black spots, Naomi Watts brought us back to the whimsical origins that made it fun in the first place. Byronesque, the contemporary vintage brand that focuses on selling collectors’ archives and reviving dormant brands, recently held a sale in Paris of 150 pieces designed by Martin Margiela between 1989 and 2006. They were sold from a very Margiela-esque apartment in the Palais Royal, with an all-white interior draped in cotton sheeting. Byronesque CEO and editor in chief Gill Linton couldn’t have found a more evocative setting if she’d tried—save for perhaps going to Martin Margiela’s old Parisian atelier/showroom, which was…all white with cotton sheeting draped over everything. The sale, Martin Margiela: Not an Auction, for the People, was made up of the collection of a single woman: Christina Ahlers. Ahlers is a fashion executive who worked with Margiela for many years (and who, incidentally, is third left and second row from the top in Annie Leibovitz’s iconic image of the Margiela team from Vogue September 2008). Ahlers felt it was time to let it all go—or at least, let most of it go. Some pieces she held back because, well, because; the clothing we wore yesterday can still have an inexorable hold today. This set us thinking: What stories are you telling when you let your past go; when you’re selling someone’s past, both that of a designer and the person who owned the clothes; and when you buy that past to make it your own?
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