SF: “A very modern woman for her time”.
AF: “Very, very, very modern”.
SF: “With very precise taste”.
The Fendi Spring/Summer 25 show begins and ends with a series of low-waisted dresses, embroidered with Art Deco motifs or pearly botanical reliefs: merging the worlds of prêt-à-porter and couture, craftsmanship and industry, day and night, the collection celebrates the elevation of everyday life in honor of the centenary of Fendi. The occasional presence of fringed hems perfectly balances the minimalist silhouettes, giving the necklines a contemporary touch that echoes 90s slip dresses or even sporty hybrids. Among these stylistic references, Kim Jones blends shearling robes in shades of beige and earthy tones, T-shirts and skirts in white crocodile suede, and a mesh vest trimmed and cinched at the waist with ochre Roman leather. The work boots, enriched with moccasins sewn with Selleria craftsmanship, reference the female family craft tradition that Jones aims to celebrate. However, when paired with ruffled floral socks and tea dresses adorned with clematis and jasmine motifs, they introduce unexpected grunge accents. Emphasizing practicality and celebration, archetype and iconoclasm, the collection looks both to the past and the future of the Maison. As a house passed down through a matriarchal line, Fendi maintains a constant focus on women who act, rather than simply being. Movement, lightness, excellence, and simplicity — the ability of the wearer to fully embrace contemporary life — are central elements.
“1925 has so many milestone moments. It is the founding year of FENDI, but also the year of the Art Deco exhibition in Paris – The International Exhibition of Modern Decorative and Industrial Arts – from where the name is taken. There’s modernism in dress, design, decoration and thought”.
Structured and deconstructed at the same time, a carefree nonchalance permeates the garments and accessories, all crafted with the utmost savoir-faire. Soft suede and shearling envelop the wearer in robe-like silhouettes, while suede crocodile is reimagined in everyday pieces. The silk tea dresses and flowing ballerina slip dresses appear both ordinary and extraordinary, often paired with boots created in collaboration with Red Wing. Kim Jones explores the contradictory nature of modernity—a balance of permanence and impermanence—through decorations that reference different fashion eras and a lineage of unique women, deeply connected to one another. The commercial boom of Fendi in the 1990s is further explored through tactile and bohemian iterations of the Baguette, sometimes enriched with fringe and amplified volumes. They are adorned with curious details, charms, and jewels, including mink fur charms and earbud cases. The bags echo the materials, embroidery, and deconstructed structure of the collection, seemingly effortless yet the result of supreme craftsmanship. Eminently graspable and sensual, these iconic constructions are softened and celebrated once again, particularly the Mamma Baguette, taller, wider, and more capacious than the standard version, paying homage to Adele Fendi, founder of the Maison and grandmother of Silvia Venturini Fendi. The continuity of the leatherworking tradition is also reflected in the Fendi Filo jewelry, created by Delfina Delettrez Fendi. Here, the Filo represents an evolution of the Selleria, initially crafted by Roman master saddlers, becoming a thread connecting past, present, and future, inseparably tied to Adele’s legacy.
