photography. Raphaelle Girardin for Clara Colette Miramon
A remarkable troupe of characters took over Berlin Fashion Week’s autumn/winter 2025 showing, as various designers transformed models into manifestations of their inspirations. Clara Colette Miramon channelled a “cool goth mom,” Sia Arnika siphoned the “Harbor Bitch,” and Marke brought Miss Havisham from Great Expectations to life. Through the use of color, texture, and silhouettes, attendees were treated to narratives conveyed through clothing – and what could be better than that?
In a melange of contrasts, sportswear fused with high fashion in ODEEH’s latest collection, ‘THE BEAUTY OF CHAOS.’ Showing the autumn/winter garments in a still-life installation, funnel neck coats, jacket and skirt matching sets, and semi-sheer knitted numbers were shown against walls adorned with eyes and faces. Creative directors Otto Drögsler and Jörg Ehrlich have always been inclined to celebrate individuality and freedom within their work, and this collection was no different. A single-breasted blazer with a colour brooch was paired with a sparkly maxi skirt while an abstract printed floor-length babydoll dress was adorned with vibrant feathers on one shoulder. As the fabrics clashed (beautifully) with one another, they were highlighted by pops of green, purple, and burnt orange.
SF1OG set out to redefine the word ‘uniform,’ and they did just that. Taking place at Halle am Berghain, the brutalist space easily accented the brand’s autumn/winter 2025 collection. Creative director Rosa Marga Dahl repurposed the typical uniform which brought out individuality, functionality, and rebellion, resulting in a late 2000s indie vibe running through the garments. Pleated plastron shirts and bolo ties were paired with feather-adorned mini skirts and military jackets were buttoned up over leather-look jeans. Collaborating with CONVERSE to emphasise this youth nostalgia, the shoe brand’s iconic Chuck Taylor was pre-dirtied and distressed upon hitting the runway. Another 2000s reference, shutter shades (think Kanye West in 2007), made an appearance, as the brand paired up with NEWFORMAT – a Berlin-based 3D design studio.
The Harbor Bitch – “a woman who exists on the edges of myth and menace” according to the Danish Berlin-based label’s show notes – served as the inspiration behind Sia Arnika’s autumn/winter collection. Arnika translated said woman’s fierce essence into playful silhouettes and delicious texture. Duvet-puffed bombers were shown alongside micro shorts and knee-high boots, plaid mini dresses – some bodycon and some with padded hips – were worn with torn fishnet tights, and oversized tees with trains flowing behind were paired with straight-leg tuxedo-striped trousers. Textured knitted tops featured structural necklines and waistlines, creating a squiggle shape. Each look was complemented by a new footwear design reminiscent of Danish work clogs.
Historical and literary characters – like Stephen Tennant of the “Bright Young Things” and Miss Havisham from Charles Dickens’s Great Expectations – were embodied in Marke’s newest collection, ‘Everything That Stays Is Love.’ Presented in three acts – the first representing youth as soft silhouettes and mesh ensembles; the second looking at grief through a dark colour palette and tailoring; the third influenced by decay and shown through oversized garments and raw hems – creative director Mario Keine told the show’s attendees a story. Oversized coats with built-in scarves, strings of pearls caught between skin and mesh sheer ruched off-the-shoulder tops, and double-breasted contrasting lapel blazers all felt distinctly different but worked together effortlessly, all paired with white tights and black and white loafers.
The modern Gothic meets Classical Revival architecture in Clara Colette Miramon’s newest collection, ‘Maria hat geholfen’ (‘Mary helped’). Held inside the breathtaking St. Thomas Church in Kreuzberg, the Cathedral Dress – a satin slip with a steeple-inspired laser-cut neckline – and Flaming Heart Puffer Jacket – an oversized coat with a heart and flames stitched into it – blended perfectly with the surroundings. Taking inspiration from the art of ‘Mary and Child’ and ex-voto paintings, Miramon’s designs exuded innocence with a touch of darkness. Underbust corsets in dark wash denim cinched semi-sheer balloon sleeve mini dresses, rich purple monochromatic ensembles with lace chokers nodded subtly to vampires, and faux fur was trimmed square-neck jackets. To add to the juxtaposition running through the collection, Miramon recorded tongue-in-cheek lyrics for the soundtrack created by Kin Amor.
Avenir’s artisan craftsmanship and commitment to quality tailoring were on full display in their latest autumn/winter collection. Creative director Sophie Claussen transformed pre-loved items into various pieces within the collection, with an emphasis on designing oversized silhouettes that didn’t drown models – or feel too costumey. A chunky knitted turtleneck jumper tied with the same jumper at the shoulders sat over a pencil skirt, a bodycon maxi dress featured a slit at the leg, and a plastron shirt was tucked into a denim patchwork floor-length skirt. Plenty of layering and classic prints (like plaid) added nuance to the neutral-coloured looks. In almost every look, a pop of colour could be found, whether it be gloves or boots.
photography. Raphaelle Girardin (Clara Colette Miramon + SF1OG), ODEEH, Sia Arnika, Marke + Avenir
words. Amber Louise
