London Fashion Week 2025 proved once again why it remains a global leader in innovation, artistry, and trend setting beauty. While the runways showcased visionary fashion, the beauty looks took centre stage, redefining traditional aesthetics and pushing creative boundaries. From crystallised tears to avant-garde minimalism, here are the standout beauty moments from the season.

Grete Henriette: Ethereal Shimmer and Dewy Elegance 

Lead Makeup Artist: Sophia Sinot using Wonderskin 

Grete Henriette made her London Fashion Week debut with a runway inspired by divine femininity and natural beauty. Sophia Sinot’s makeup direction echoed this vision, opting for a soft, dewy finish that gave models an ethereal glow. Shimmering eyeshadow and delicately highlighted cheekbones enhanced the models’ features, creating an understated yet captivating look. Models were adorned with glitter and shimmer across their faces and bodies, amplifying the otherworldly aesthetic. One standout look featured an intricate cascade of pearls, beads, and shells running down the model’s spine, further reinforcing the collection’s organic, goddess-like theme. The fusion of bold fashion and light reflective beauty cemented Henriette’s arrival as a designer to watch.

Di Petsa: Tears of Desire and Smudged Romance

Lead Makeup Artist: Crystabel Efemena Riley

Dimitra Petsa has long explored themes of fluidity, sensuality, and female desire, and her FW25 collection, Reflections of Desire, was no exception. The beauty look was an evocative extension of this narrative. Models’ eyelashes were encrusted with salt to mimic crystallised tears and to represent snow lashes, while smudged lipstick suggested love notes left on skin. Riley, a champion of zero-waste makeup, used milky and bloody textures to reflect the raw, unfiltered aspects of attraction. This avant-garde approach blurred the lines between beauty, art, and storytelling.

SRVC: Futuristic Minimalism

Lead Makeup Artist: Aurore Gibrien

Ricky Wesley Harriott’s SRVC show, set atop London’s BT Tower, embraced sci-fi influences with sleek tailoring and futuristic silhouettes. The beauty looks followed suit, featuring an almost-bare complexion with luminous, natural skin. Some models wore subtle metallic eyeshadow, while lips varied dramatically ranging from bold black or muted orange to a striking half painted effect, where the upper lip was black, and the lower lip left bare or glossed. This high contrast aesthetic reinforced SRVC’s cutting-edge identity. 

Dilara Findikoglu: Venus Reborn in Gothic Glamour

Lead Makeup Artist: Yadim Carranza

Hair Stylists: Eugene Souleiman and Kevin Murphy

Dilara Findikoglu’s Venus from Chaos collection was a dreamlike vision of goddesses and mythological rebels. The beauty looks were equally mesmerising, eyebrow less models with silvery eyeshadow, lace edged lips, and tattoo-like facial embellishments created an otherworldly, gothic aesthetic. The show’s defining moment was “Look 23,” where a model emerged with cascading fiery ginger hair that flowed to her thighs, her body shimmering in iridescent hues of purple and blue. It was a breathtaking nod to Botticelli’s The Birth of Venus, reimagined through Findikoglu’s rebellious lens.

George Keburia: Broken Doll Beauty

Lead Makeup Artist: Alice Dodds

George Keburia’s FW25 collection toughened up delicate, doll-like aesthetics with a moody colour palette. The beauty looks followed suit, models wore stark black lipstick against bare, luminous skin, creating a striking contrast. Some featured exaggerated black eyeliner, while others played with metallic green lips. The effect was both haunting and futuristic, reinforcing Keburia’s exploration of childhood nostalgia and toughness.

Harris Reed: Rebellion Meets Romance in Dramatic Lashes

Lead Makeup Artist: Sofia Tilbury using Charlotte Tilbury

Harris Reed’s FW25 show, staged at the Tate Britain, was a celebration of unapologetic self-expression. Makeup artist Sofia Tilbury balanced rebellion with vulnerability, creating soft, glowing skin and nude lips to contrast with bold, exaggerated eyelashes. Upper and lower lashlines were adorned with long falsies, amplified further with layers of Charlotte Tilbury’s Exagger-Eyes Volume Mascara. Florence Pugh’s show-opening monologue set the tone, and her goth-glam spiky two-inch lashes became an instant highlight of the season, proving that bold beauty is here to stay.

London Fashion Week Fall 2025 saw beauty take on new forms, romantic, futuristic, rebellious, and surreal. Whether through sculptural eyelashes, crystallised tears, or moody lip contrasts, this season’s standout looks will no doubt shape the future of beauty trends in the months to come.

Words By Claire Gaura 

The post The Best Beauty Looks From London Fashion Week 2025 appeared first on Voir Fashion.

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The campaign attempts to bring together Bridal, Swim, and Menswear in a romantic collection that uses DI PETSA’s signature wetlook drapery. Think of ancient Greek sculpture work as you take in this campaign, looking at the way the marble work of statues such as Aphrodite of Milos or Ermis of Samothraki reflects in the craftsmanship of the drapery of the fabric, the wetlook mirroring the marble clothing that adorns the statues. With these references, DI PETSA incorporates wedding rituals whilst also subverting traditional gender roles, exploring the male and female dynamic by showing a raw and unfiltered emotion in the models, with men aggressively reaching for bouquets of flowers as their tears merge with the fabric of their garments against a stark, black background whilst women appear in a much calmer, neutral manner as they move sensually and in harmony with each other. 

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The campaign was headed by photographer Louisa Vradi and art directed by Christos Petritzis (Ruins Agency), masterfully shooting, and interpreting the heightened emotional state of falling in love through a mythological lens. Through this interpretation, we see DI PETSA exploring the arena of menswear for the first time. The brand has previously specialised in womenswear, therefore this new chapter for DI PETSA presents an exciting vision through DI PETSA’s lens of how menswear can be interpreted. Their use of the wetlook drapery in clothing intended for male-use garments will hopefully leave room for wider interpretation of menswear for the brand, perhaps for their main SS25 collection. 

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This campaign, titled Wet Brides Act II – Eros in Pain, entails 20 looks – playing into bridalwear with all-white pieces, styled with gold accents via jewellery and chains. Shell-shaped pieces and healing moonstone crystals also feature throughout the collection. DI PETSA’s first venture in menswear in this collection saw a wetlook two-piece trouser set with carefully draped, full length trousers and a cropped shirt with a peak of collarbone.

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Draped, white shirts and tiny, lace-up swim shorts also appeared in the menswear selection, igniting a sense of femininity amongst the womenswear we also see throughout the campaign. Beautiful, white dresses and bikinis allude to the bridalwear that lies at the heart of the collection, with strong references to Aphrodite and her fountain via the wetlook drapery and silhouettes of the dresses that appear akin to the dresses worn in Greek scripture and drawings of ancient Greek gods and goddesses.

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The womenswear is intricately adorned with clear, crystal embroidery and held together with gold jewellery chains, beautifully creating a sense of ethereality, and narrating a story of transformative love and desire where vulnerability meets strength in men’s and womenswear. 

DI PETSA invites you to experience “the pain and transformative power of love” which dresses but also undresses emotions, making visible the invisible currents between us, clothes soaked in emotion. 

The film campaign can be found here. 

_{Written By Bethan Gwynne}

The post Eros Unveiled: DI PETSA’s New Collection Debuts At London Fashion Week appeared first on Voir Fashion.

Di Petsa

Greek designer Di Petsa channelled her recent heartbreak into one of the most talked about collections for the week. The collection took inspiration from the designers own Greek Orthadox upbringing and with Greece just finally legalizing same sex marriage, the collection was a fitting display of love.

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With high profile models like Cindy Kimberly, Duckie and Jessie Jo Stark dripping in bells – the show definitely impressed. The collection encapsulated the overall goddess theme of the Di Petsa brand, with a display of Venus being birthed on the runway mixed with their signature wet look, trompe-l’oeil illusion dresses.

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Sinead O’Dwyer

Last Season, Irish designer Sinead O’Dwyer hosted her show at her alma matter – The London Royal College of Art MA classroom. The designer chatted with a journalist as her models walked and displayed her pieces. It was a refreshing change for attendees and set excitement for her proceeding shows. 

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This year, the show was hosted at the Old Selfridges hotel, pivoting to a far more central focal point, which was a theme that seemed to extend to the clothes. The designer went back to the brands basics and expressed she focussed her design on body shape, “I design for a diverse body, that’s the thing that drives the brand.” Which we can completely identify with here at VOIR. “From the very beginning of every design, I’m thinking about those body shapes, what sort of garments they might want to wear and how I can interpret things.”

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Simone Rocha

After a jaw dropping display of mature elegance at Paris Haute Couture fashion week, Simone Rocha is riding the wave right into London. The Irish born designer seems to be on an ever-proceeding incline to becoming one of the biggest names in fashion after taking over the Jean Paul Gautier show and receiving praise from the designer himself.

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Her London Collection took a far more playful, childlike approach with models carrying stuffed animal toys as accessories. She also took the opportunity to announce yet another Rocha x Crocs collaboration, which worked perfectly with the youthful vibe of the collection. 

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JW Anderson

JW Anderson put a charming womenswear spin on the eclectic Grandpa trend that’s been circulating for the last few months. They did this by utilising chunky knits, thick wool coats, tweed, English style under garments and lots of slippers.

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Anderson cited Last of the Summer Wine, a British sit com based around old age pensioners in Yorkshire, as one of his key inspirations.  He captured this Northern aesthetic perfectly and the collection offered itself as a comfortable slice of British nostalgia.

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Dilara Findikoglu

Turkish-british Dilara Fındıkoğlu has become one of the most anticipated collections, not down to but aided by her recent success dressing Margot Robbie for the Barbie premiere after party. The designer chose to host her show in a church, which she sees as a “safe space”. 

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The much-awaited collection consisted of corsets, bodices, bright reds and deconstructed under garments. The idea behind the collection was to “destroy the corporate man “and rebel against male-built society. “I am really into the female form and as a female designer, I just need to celebrate the body,” Fındıkoğlu was reported saying.

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Dreaming Eli

Dreaming Eli is one of the designers to watch, founded by the incredibly talented Elisa Trombatore, who graduated from Central Saint Martins in 2021 with an MA in Fashion. The brand aims to empower women and fight against stereotypes through it’s designs, encouraging power in femininity as well as balancing it with power and danger. 

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Her SS24 collection was titled “Wild Hearts Bleed” and the entire collection encapsulates her the strength and beauty of femininity. The designer achieved this by using boned corsets with hard structured silhouettes, and pairing them with soft colours and delicate fabrics.

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_{Written By Lauren Dickson}

The post LFW40: Whilst Celebrating 40 Years Of London Fashion Week, Who Stole The Show? appeared first on Voir Fashion.

Off-White

The Off-White show this week served as a celebration of the life of former creative director and founder Virgil Abloh, who passed away last year. Abloh was one of the pioneers and great modern innovators of the fashion industry, and this collection followed suit, offering a glimpse into the space age and allowing everyone to dream of a bright future. A huge amount of variety was on show from minimalist streetwear inspired looks of oversized jumpers, puffer jackets and hoodies that are staples of the brand to high end couture, a pool in which Off-White has never really dipped its toe into.

It needn’t matter though, as the multitude of layered, oversized dresses, gloriously gigantic hats and bombastic prints and colours all felt completely effortless, as if the brand had always been a high-end couture behemoth. As one of Virgil’s final works before his passing this is one beautiful legacy to leave behind.

Vaquera

Themes of punk and rebellion ran through the DNA of this show and onto the catwalk too. Pretty much everything on show was oversized, creating a casual yet edgy feel that was a perfect blend of 80s and Y2K styles. Stone washed denim was paired with sleek leather for an ultimate grunge inspired look, and loud prints from leopard print to skulls to comic inspired art added an artistic edge to proceedings.

Nanushka

There was a quiet vulnerability and intimacy in Nanushka’s show. Foregoing the traditional catwalk of models walking up and down for mere seconds, the models of Nanushka’s show stepped onto spinning platforms and stood perfectly still for what felt like an age, inviting viewers to stare and really take in the atmosphere of the show and the craftsmanship of the clothes. This intimacy translated through into the clothes with a gentle sense of femininity running through the collection with pristinely cut suits with deep necks and flared trousers in light browns and baby blues being standout looks from the show.

Di Petsa

The theme of femininity continued with Di Petsa, whose show and collection centred around the themes of motherhood. With the runway thematically set with moody lighting, water on the floor and remnants of foliage making it appear the show was set in a Garden of Eden of sorts, clothes which embraced the raw nature of being a mother graced the runway. Gentle fabrics comprising of ruffles made up a bulk of the collection, putting an emphasis on comfort first and foremost. The raw nature of the show became even more apparent with models carrying babies down the runway as well as clips of mothers feeding their children spliced in between. The collection showcased the power and beauty of motherhood in a wonderfully real nature.

Christian Dior

The future is now. That was the message Christian Dior was sending this week. Set in an enormous room with the walls lined with classical portraits, you’d be forgiven for thinking the show would kick off with some classically designed haute couture. Instead, a glow in the dark bodysuit was the first piece on the runway and what followed were a barrage of futuristic looking pieces meshed with clothes from older ages. Slick high vis jackets were paired with flowing lace skirts, arm gloves that wouldn’t look out of place on the outfit of a racing driver accompanied sophisticated body-hugging dresses, and huge Matrix style glasses made models look as if they were wearing high-tech visors.

As the show carried on though, the looks gradually began to regress through time and the futuristic elements gradually faded away. The precise cuts of tailoring that have been so prevalent throughout the 20^th and 21^st Centuries took up the middle portion of the show, with elegant printed overcoats, velvet two-piece suits and shining maxi skirts bringing the room back to the present. Soon after, time regressed again with dramatic sweeping dresses made of lace, swaying elegantly around the models as they walked, transporting everyone back to the age of the ballroom, an age more befitting of the setting the show was housed in.

Christian Dior managed to combine the past, present and future in sublime fashion and in doing so celebrated the history of the craft whilst also looking forward to its future.

Ottolinger

Models made their way around a twisting padded maze for Ottolinger in a show that felt futuristic in a distinctively Y2K manner. Lashings of smooth velvet slinked around the maze along with puffer jackets and coats that didn’t look too dissimilar to the maze walls and a fantastically slick set of suits. Huge shoes finished off many of the outfits on display and enhanced the vintage otherworldly feel of the show, with the collection as a whole echoing the fashion of The Matrix. The only thing missing was an appearance from Keanu.

Saint Laurent

If there’s one thing that can always be guaranteed from a Saint Laurent show, it is extremely high glamour and extremely high sophistication and this show was no different. With a beautiful backdrop of an illuminated Eiffel Tower in the background, the glamour was only heightened even more. That unmistakable Saint Laurent style was present from the start with uniquely chic touches on blazers, giving them hugely oversized dropped shoulders, decadent fur coats and shimmering thigh high boots to add subtle levels of sensuality to proceedings.

It was a fantastically elegant high end display, the kind that has always come to be expected from Saint Laurent.

Didu

Rather than stage a traditional catwalk show Didu instead produced a short film showcasing their looks for the season and it’s safe to say it had a dystopian feel of sorts. With elements of neo noir with a futuristic biker riding down a moonlit highway, a fantastical overgrown forest and a rather unnerving last supper of sorts, the film was a journey through varying scenarios which showcased the diverse and rich nature of the brand.

Rochas

As smoke poured into the studio and a foreboding dance track began to play there was a somewhat sinister edge to the Rochas show. Not that that’s a bad thing though as the clothes on display also matched this eerie atmosphere by appearing quite dark and almost villain-like themselves. Dark, leather coats, dresses and hats were combined with dramatic make up and oversized nails creating looks that weren’t too far removed from the queen of evil herself: Maleficent.

Tailoring laden with jewels shimmered through the clouds of smoke and, combined with unique shoulder cuts which bloomed outwards like a blossoming flower, added a gentle touch amongst the smoke and dramatic music.

Dries Van Noten

Dries Van Noten presented a dreamlike paradise to the fashion world this week. There was an astonishing array of fantastically vibrant prints spread across coats, tops, skirts and blazers, ranging from classic zebra and cow prints to much more psychedelic patterns meshing colours and swirling around the garments in hypnotically mesmerizing manners.

The insane levels of detail extended to accessories to with hand-stitched brooches in the shapes of crests being made up of vibrant colours swirling around each other like a kaleidoscope. Uniquely, the clothes themselves were also primarily displayed on mannequins rather than models and, taking things even further, the mannequins themselves were often patterned with the same prints as the clothes they were displaying. This created a blurring of lines of sorts between the clothes and the wearer.

Acne Studios

In a pristine white studio guests at this weeks Acne Studios show were sat in pits in the floor itself and watched as the models of the show slinked around them from above.

A particular highlight of the collection was its use of nightwear and loungewear inserted amongst the usual high-end pieces and looks. Massively oversized dressing gowns which drowned the models were paired up with equally oversized slippers creating an undoubtedly comfy look which stood at odds with the rest of the show. Who says extreme comfort can’t be extremely fashionable?

Balmain

Kicking the show off with a beautifully intimate dance routine before the models graced the runway, there was a tender atmosphere to Balmain’s presentation. Of course, this tenderness didn’t distract from the effortlessly cool styles that the fashion world has come to expect from Olivier Rousteing, whose love for distinct silhouettes, monochromatic palettes and sleek, modern theatricality was as present as ever.

A collection of the most pristine and purest whites led the show comprising of the unique tailoring structures that Rousteing has become known for, paired with flowing trousers, miniature bags and enormous boots that could have had their own gravitational pull.

These outfits had an almost angelic feel to them which wonderfully matched the gentle nature of the show’s opening performance. A bit of darker energy soon followed though with equally slick and futuristic black outfits fitted with metallic plates taking the audience from the skies to space and enormous coats of fur and that unique Olivier block colouring adding plenty of elegance and sophistication.

Coperni

Set in a spacious locker room with a soundtrack made to an emulate a radio broadcast there was a quiet sense of sexiness present in Coperni’s collection. There was plenty of flesh on display as thigh high boots and miniskirts exposed thighs, tops and dresses revealed shoulders and some uniquely cut blazers highlighted parts of the body. All of this was handled tastefully though and with a sense of sophistication showcasing a strong level of maturity.

Gauchere

Gauchere presented a mature and sophisticated collection this week. The French brand showcased traditionally cut tailoring in a variety of cool neutrals from brown to black to beige, giving the collection a fresh neutrality. Blazers and coats oozed sophistication whilst skirts flowed to mesmerizing degrees.

Paul Smith

One of the icons of British fashion, Paul Smith is still creating collections that are full of charm, whimsy and wonder. Continuing to showcase the signature prints and patterns that have become so synonymous with the brand and designer, with this collection having a particular affinity for zigzags and psychedelics, the clothes all have a distinctly British feel to them that only Paul Smith is capable of achieving. A lush array of colours please the eyes as well with deep, brooding purples, fresh greens and passionate, vibrant reds leading the way and adding bursts of personality to the collection. Paul Smith is, as always, timeless, elegant and infectiously fun.

Lecavalier

Taking place in a dramatically lit studio there was a tense atmosphere to the Lecavalier show. At times the presentation almost felt like a western standoff of sorts with models passing by each other trading tense stares and gazing into the cameras in a similar way at the audience. The drama was equally present in the clothes too with dramatic colour combinations, oversized jumpers consisting of patterns that, again, wouldn’t be too far removed from a western, and a stunning coat made up of incredibly intricate twists and knots.

Rick Owens

The king of gothic theatricality, Rick Owens, returned to Paris this week with undoubtedly one of the most breathtakingly stunning shows of the season, if not the year, so far. Atmosphere, as always with Rick Owens, was immersive from the start with smoke machines billowing smoke onto the runway and even models carrying their own miniature versions with them, creating a swirling cloud of mysterious wonder. A sweeping orchestral score only added to the spectacle, making the presentation feel more like a huge Broadway performance than a runway show.

Of course, the clothes were spectacular as well. The silhouettes of pointed shoulders, dragging capes, huge hairdos and swirling dresses matched the atmosphere of the stage perfectly with the collection looking like it had come straight from a beautiful yet slightly twisted fairytale. It could be easy for a collection rooted in such drama to lack a certain sense of reality and soul but that was absolutely not the case here. Despite the high dreamlike state there was a warmth and soul to the collection that brought the entire presentation back to reality.

Isabel Marant

With a packed audience in attendance and a live performance accommodating the show there was a very playful and uplifting vibe to Isabel Marant’s presentation. Models strutted with vigor and fierce attitude to the dreamy soundtrack of the show and presented a collection of clothes that was equally playful to the setting they were in. Fluffy jumpers with striking patterns looked comfy and inviting whilst a whole host of colourful garments added to that feeling of wonder and whimsy that was already present. A highly uplifting presentation indeed.

Alexandre Vauthier

There was a rough elegance on display from Alexandre Vauthier this week. The video presented by the brand had a DIY energy to it that also emitted a rebellious punk energy which translated through to the collection itself. Each piece exuded a confident amount of attitude, evoking feelings not too far removed from the British punk movement of the 80s. Coats were decked out in various animal prints and would feel right at home amongst the stylings of last years Cruella, whilst glamourous dresses had dramatic fur necklines that, again, wouldn’t feel out of place worn by the monochromatic menace herself.

Loewe

With the runway space painted floor to ceiling in a chocolate brown and with multiple huge pumpkins scattered across the room there was an immediately surrealist nature to Loewe’s presentation. This surreal vibe extended massively to the clothes as well, with the entire collection having an Alice in Wonderland feel due to the sheer amount of whimsical and straight up head-turning pieces on display. Dresses that started off in a typically standard manner at the neck extended downwards into the shapes of cars at the waist, whilst others were shaped into giant, puckering lips at the chest before flowing down into an elegant and flowing trail. There were heels accessorized with humongous bows at the ankle and, speaking of heels, some were even put into dresses themselves with the heels nearly piercing out of the fabrics.

Amongst all of this surrealist content there was also a wide array of shapes and cuts that would seemingly be thought to be impossible when it comes to making clothing. But Loewe managed it all and created a compellingly trippy show that pushed the boundaries both of what fashion is and what it is truly capable of.

Issey Miyake

Japanese brand issey Miyake also presented a fairly surreal take on its collection this week, though to a more minimalized degree. As ever with Miyake subtlety was a strong point and the collection had a refreshingly down to earth vibe whilst also still being creative and pushing forward some unique prints and designs. Jumpers looked uber soft and comfy to the touch coming in a nice variety of cool neutrals and brighter colours such as purple, whilst coats were adorned with artistic prints looking as though they had been brushed on with a giant paintbrush.

Nina Ricci

In a playful and energetic presentation Nina Ricci asked its participants what it is that they feel makes them their most authentic selves. The celebration of embracing one’s authentic self and not being hindered by other’s opinions or doubts was an uplifting message and felt empowering too. The clothes on display complimented this message being bright in colour, with cool pastel pinks and blues, and by featuring some playful prints which added some extra dimension to outfits.

Jitrois

There was a definite space-age vibe emitting from Jitrois’ presentation this week. In a glitchy and distorted video presentation models were seen sporting shining silver dresses and tailoring that looked fit for a grand space adventure. A red leather getup consisting of jacket and trousers, whilst being distinctly contemporary, also had an air of futurism about it and looked effortlessly cool to boot. Space-age styled futuristic clothing is always interesting to see and Jitrois delivered a slick and cool take on the aesthetic.

Lutz Huelle

Traditional glamour was at the forefront of the collection from Lutz Huelle. Glamorous sophisticated dresses in a rainbow of primary colours lit up the presentation, with some darker, checkered tailoring serving as a nice contrast to the array of colours. Patchwork denim tops and jeans added a touch of casual everyday wear to proceedings, whilst still feeling distinctly elegant in its own way. Outfits were also accessorized with some stunning crystal jewels in the forms of lavish necklaces and dangling earrings, hammering home that traditional glamour in a suitably stylish way.

Yohji Yamamoto

With the runway framed by multiple luxurious crystal chandeliers there was an immediate sense of gothic drama to Yohji Yamamoto’s presentation. Of course, gothic theatricality is a known staple of Yamamoto’s work so it should be no surprise that the collection presented this week leaned heavily into the theming in a beautiful, almost sorrowful manner.

Yamamoto’s signature use of black was ever present, casting a gloriously gothic glow over the room. Layered, billowing dresses that swayed beautifully as the models walked down the runway emitted a wonderful sense of drama, and the expert tailoring of blazer jackets and coats that are staples of Yohji’s work added a dark sense of sophistication to the show, as should be expected from Yamamoto’s work. Many of the outfits presented felt fairytale-like in nature which gave the collection a wonderful sense of whimsy that worked wonderfully with the gothic stylings. Yohji Yamamoto has proved once again why he is one of Japan’s most acclaimed and beloved designers.

Marine Serre

If there were an award for most sheer variety in a runway show this week then Marine Serre would be a very serious contender for the crown. Everything from abstract geometric prints, to Scottish inspired check, to satanic body suits, to skin-tight head to toe velvet extravaganzas was present. Yet, despite this insane amount of variety, the show never at any point felt inconsistent or had any tonal issues.

There was a definite surrealism surrounding the collection and many open interpretations ready to be taken. One absolute though is that this was one of the most unique shows of the season so far and did a wonderful job of balancing both the functionality of fashion with the spectacle and performance. A true work of art.

Words By Andrew Coyle

_{Photo Credit; Off White, Filippo Fior}

The post Paris Fashion Week Saw Much Anticipated Tributes and, Traditional Catwalks Traded for Modern Live Performances – Here’s Your Mid Week Rundown. appeared first on Voir Fashion.

In the past, the trend has been synonymous with the sexual objectification of women, accused of merely appealing to the male gaze. However, Di Petsa has given the look a whole new meaning by putting the power back to the ladies who are wearing the looks and highlighting the female form in the most positive of ways. The sensual designs come with a message of self-birth and have been created with the aim of empowering women to take sexy into their own hands—through bold, sexy activewear that encourages them to embrace their sexuality in whatever way they like.”

While for some it may seem a farfetched style that can only be showcased at the most exclusive of events, think Kim Kardashian’s Thierry Mugler wet look at the Met Gala in 2019, this is just not the case. Bella Hadid was spotted casually wearing Di Petsa’s wet look mini on her summer vacation just a few weeks ago, revealing just how versatile the trend can be.

With the likes of Megan Fox and FKA Twigs sporting the latest looks from Di Petsa, the appeal of the wet look dress is ever so apparent. To soak up the style, we suggest pairing your wet look dress with drenched hair (a whole other trend in itself!) and dewy skin to match, that leaves you looking wet from head to toe!

Shop our favourites from Di Petsa below:

£ 2250

Di Petsa Wet-Look Halterneck Mini Dress In White

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£ 350

Di Petsa Wet Dream Mini Dress White

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£ 460

Di Petsa Crop-Top In White

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£ 1690

Di Petsa Wet-Look Long Skirt In White

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Words by Ella Citron-Thompkins

_{Photo Credit: @Dipetsa}

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British singer and songwriter, Sasha Keable released her single today along with BRIT Award Winner Jorja Smith. The song ‘Killing Me’ is a door to intimate mournings and sadness that captures the emotional-gist of failed relationships. Directed by Olivia Rose, Sasha and Jorja collaborate in this single, pairing their individual unparalleled vocals and deliver a heartbreaking video. “Jorja and I were long overdue to write together, so we met up at Ben’s (our guitarist) house who wrote ‘Killing Me’ with us, and in 4 incredible hours we had the song, it was mad how easily it came. We had both gone through difficult breakups and were clearly done with how we were feeling. Killing Me was the result of that and helped us both to move on”, says Sasha Keable.

The video gets you all welled up as it churns out imageries connecting to the emotions stacked behind the song. The new single unfurls the symbolic denotations of red, white, and black costumes that represent a sensation of evolving sentiments. The song proceeds from two ‘perfectly-manicured’ hands bejeweled in chunky chic gold rings meeting each other to various other moods of the story. In the beginning, the darkness, or rather a sense of mourning behind the song is manoeuvred through everything black from satin blazers, latex gloves, to fur fringed hats, signalling at the death of a relationship. Soon, the song transcends into a sense of realisation and awakening with ‘I started to take my advice….now I’m not worried ’bout fights, symbolic of light and a sense of positivity that has entered through, birthed out the tragic.

_{Photo Credits: Brand Di Petsa Worn by Sasha Keable & Jorja Smith in ‘Killing Me’ Directed by Olivia Rose}

The entire imagery is portrayed through a white ensemble paired with vibrant silver and gold pieces of jewelry. The duo can be seen donning Di Petsa’s famous Wetlook mini dress for this which drew a lot of attention in 2020. Maison Margiela was accused of plagiarising the ‘wet look’ design in his Fall/Winter 2020 Couture collection. Celebrities like FKA Twigs and Kylie Jenner since then have been responsible for jetting it off into global recognition. The ‘wet look’ has also been modeled and worn by various other celebs like Bella Hadid, Doja cat, Gigi Hadid, etc. During recurring moments in the video, Keable and Smith can also be seen dressed in red gowns respectively, the flares fluttering as if to represent ‘fuming with anger with an occasional rose-petal plucking throughout the video.

The new collaboration comes after her recent 2021 singles, “Exception” and  “Don’t Get Lost” and will feature alongside her upcoming EP Intermission at the end of the year.

“The song has healed me in more ways than you could ever know and now we are hoping that it can heal a few of you too.” said Keable in her Instagram post. The duo has a flair for  R&B which is neatly reflected through the single. Symbolisms and connotations aside, ‘Killing me’ is a reminder to pluck out those fleeting moments of sadness and love ourselves unconditionally.

Words by Manica Pathak

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