In an era where the boundaries of ‘classic’ are in perpetual motion, Tory Burch is giving tradition a rebellious nudge. Her Autumn/Winter 2025 collection takes American sportswear - those ever-reliable staples - and slices, twists, and warps them into something unexpected. Call it a second glance at the familiar, or a well-mannered riot against the ordinary.
The silhouettes play with distortion. Think banker shirts ballooning at the cuffs, cardigans with sleeves slashed and pinned at the shoulder, and shirt-dresses sculpted on a spiral pattern to hug the body in unpredictable ways. It’s as if each garment has lived a life, moulded by time and touch, creating a wardrobe where every piece feels like a treasured find.
Then there’s the subversion of materials. Corduroy, typically reserved for nostalgia-laced academia, is reimagined in the form of a cut-out dress. A quarter-zip fleece? Not quite - it’s needle-punched wool. Sequins aren’t just stitched; they float over the body in a trompe l’oeil knit. The collection thrives on textures that feel lived-in: frayed tweeds, brushed alpacas, and velvets laced with metal that crease and crinkle with intention.
Bags and shoes follow suit, soft yet subversive. Tory Burch’s Pierced and Balloon bags come in leathers usually reserved for shoes, creating an irresistible touch-me quality. The Eleanor bag - typically structured and precise has been deconstructed into a pillowy embrace, while the Romy bucket bag, wrapped in cognac suede and faux croc, oozes tactile luxury. Meanwhile, shoes throw convention off balance: the Twisted Pump returns with a warped T-strap and slingback, while riding boots and monk straps stretch into exaggerated points.
Accessories offer a nod to ‘70s excess. Shoulder-grazing chains, chunky watch-band bracelets, and gold-tone sunglasses inject a sense of playfulness. Tory Burch continues her micro-menagerie of animal-inspired jewellery - this time, tiny mouse earrings join the ranks of past-season aliens, octopi, and cows. Brooches - sometimes crystal-embellished, sometimes oversized and aggressive - are pinned onto everything from coats to sandals.
The collection debuted at the Museum of Modern Art, an apt setting for garments that feel like wearable sculptures. The soundtrack, curated by Wladimir Schall, was an eclectic blend of hypnotic beats and nostalgia-laced melodies: Charlotte Adigéry and Bolis Pupul’s Haha, Rose’s Magic Carillon, Throbbing Gristle’s Hot on the Heels of Love, and Donna Summer’s Now I Need You. The music, much like the collection, wove together past and present, classic and twisted, polished and undone.
