Antonio Marras Fall Winter 2025
The Antonio Marras Fall Winter 2025 Fashion Show draws inspiration from "La Bella d'Alghero," a musical piece from 1892 that narrates a love story set in the Sardinian city of Alghero. The central character, a young woman of remarkable beauty, finds herself torn between two men, caught in a web of intense emotions and societal expectations.
The show presents a sophisticated interplay of luxurious fabrics, including Prince of Wales, brocade, and Ottoman jacquard, alongside modern materials such as leather and denim. Embroidery, appliqués, and layered textiles enhance the garments, resulting in tailored, voluminous, and multi-dimensional silhouettes that create a conversation between structure and fluidity. Signature motifs like roses, hands, stripes, and portraits are brought to life through brushstrokes and drawings crafted directly by Antonio Marras.
Oniverse (formerly Gruppo Calzedonia), the €3.5 billion (2024 revenue) owner of Antonio Marras, showcased its financial muscle at Marras's Milan Fashion Week show. The event, attended by Sharon Stone and featuring extensive security measures, felt almost as expansive as Oniverse's 5,700 stores. The 85-look collection, while visually decadent, suffered from some significant shortcomings. The sheer number of outfits detracted from the overall impact, particularly given several instances of ill-fitting shoes causing models to stumble and even fall, disrupting the show's flow and jeopardizing the models' safety.
Despite these issues, the show remained classically melodramatic, drawing inspiration from a Sardinian-rooted narrative about two sisters questioning their arranged marriages to a fisherman and a rifleman. Marras's signature style—a blend of military tailoring, brocade, jacquard, tulle, chiffon, and hosiery—remained consistent. This season featured charcoal rose motifs, a stronger-than-usual leather element (including a striking kinky Carmen-esque piece), and layered leaf prints with a rustling effect.
The menswear offering was particularly noteworthy, including a multi-pocketed technical nylon look and a gray flannel suit with combat trousers paired with a ruffled bib striped shirt. While the sheer volume of looks could have benefitted from editing, the collection’s inherent theatrical flair and Marras's distinctive design language remained captivating, despite the unfortunate missteps.
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