Erdem Moralioglu presented his Fall 2025 Ready-to-Wear Collection on Feb 24, 2025. The London designer known for his fantasy wear pieces collaborated with a friend and British painter, Kaye Donachie. Erdem gives each collection a nerdy-romantic image with watercolor prints.
The fall collection is the first collaboration with a fellow artist; to Erdem, it was “so personal.”
Donachie’s art presents dreamlike canvases that invoke feelings/moods. Models walked in a dream state to showcase the moody canvases at the British Museum. The museum was blank, with no art or theatrics needed in this show – as the pieces were the central gaze for viewers. Garments flowed with air after each step, gliding on marble floors, each model making a maze for onlookers. The first set of models revealed dresses with Donachie’s artwork. In an array of blue watercolors, portraits developed emotions of reflection on beautiful printed oversized shirts and A-line skirts. Capes also made their way onto the runway, decorating the fantasy canvas dresses with satin material. Oversized is a big trend, with coats styled in black, reflective/glitter-esque fringes, or wool blends.
The following collections of artwork displayed on the catwalk were patchwork, patterns, thread, and applique. Models donned footwear resembling strings used as thread for specific garments. The thread was woven on the right or left of a dress and draped in an artist’s motion, mimicking a painter’s brush stroke. Collared dresses gave nerd romanticism with a patchwork of either Donachie’s portraiture or brush strokes.
Applique bubble dresses ascended and presented a garden preview to add to the fairy-like dream. Dresses ranged from short cap sleeves, sleeveless, and off-the-shoulder applique, ranging from flowy, bubble, to tier or trumpet style. Solid colors like white and red, or watercolor, are made for poetic pieces, while separates in cropped tops and skirts follow through.
Erdem and Donachie’s collaboration exhibited a “poetic conversation, highlighting biographical literature and history.”
