From the runways of Europe, a return to matter, warmth, and sensory memory.
One word defines this season: tactile. After years of digital aesthetics and almost virtual silhouettes, fashion returns to the body — to its weight, its desire, its need for touch. The garment is no longer projection, but skin, refuge, and experience.
Across Paris, Milan, London, and New York, the catwalks reveal an autumn wrapped in dense textures, sculptural pleats, ironic bows, and knitwear that becomes architecture. Protection returns as a theme, yet never denies desire.
The Greek drape — soft, intellectual, imperfect — becomes the new language of sensuality: dresses twist, knot, and fall like living statues. Ancient grace meets contemporary rhythm in a hymn to slowness and harmony. The fur trend, whether faux or sheepskin, brings tactility to the forefront. The modern woman no longer wears armor to face the world — she wears warmth, a soft barrier that allows her to remain sensitive without being fragile.
Black dominates once again, not as austerity but as movement — it flows, envelops, and seduces. Asymmetric drapes and liquid lines restore femininity as a spiritual presence. Then irony enters the scene: bows, plush toys, and childlike nostalgia. Fashion remembers innocence and reclaims it with adult awareness. Tenderness becomes avant-garde.
The female dandy returns with stiff collars, jabots, and romantic dual tones — a kind of wearable theater. Meanwhile, pocket-bags merge function and fantasy, turning practicality into design. The slip dress reclaims intimacy: lingerie becomes attire, the skin becomes statement. A quiet sensuality takes the stage.
And the sculptural knitwear closes the circle — garments woven like landscapes, filled with patience and the poetry of hands. This fall/winter doesn’t speak of trends but of presence — a fashion that listens instead of shouting, that seeks warmth over spectacle.
Because the true revolution now is remembering that to dress can still be a human, sensual, poetic act.
CLICK TO ENLARGE — VIEW DETAILS
SARA DAL MONTE 