2025 is the year of plumage

Among the trends that defined the latest FW25 fashion shows, the return of feathers to the runway stands out. A symbol of lightness, but also of opulence, evoking both nature and the realm of dreams and fantasy, feathers have once again captivated designers across the fashion system—not only as a material, but as a sign that expresses a desire to imagine elsewhere and, through fashion, fulfill the dreamlike desire to escape reality: from earth to sky. The latest appearance of this “birdscape” trend came with the announcement of Miley Cyrus’ upcoming visual album. On the cover of her latest music project, the artist wears a full archival Mugler look from the “Les Insectes” SS97 collection, composed of feathers and opalescent webs. In this historic runway show, the beauty look that completed the translucent dress included tufts of white feathers in place of eyebrows, almost reminiscent of an angelic creature. Additionally, in the music video for her single “Something Beautiful,” Cyrus wears a hooded coat entirely covered in green feathers, made especially for her by Casey Cadwallader, the outgoing creative director of Mugler.

Feathers also evoke the image of old-school divas. During the latest Dolce&Gabbana FW25 show, streetwear looks featuring cargo pants and military green parkas alternated with dresses adorned with fringe, feathers, and crystals: a contemporary reinterpretation of classic 1920s Charleston dresses, creating an atmosphere reminiscent of The Great Gatsby. Along similar lines, at Dsquared2, the Caten twins celebrated their 30-year fashion career with a show that honored the brand’s history. In what resembled their own version of “Studio 54,” they recreated the iconic feather naked dress worn by Cher at the 1974 Met Gala—originally designed by Bob Mackie—and presented it on Amelia Gray. Similarly, Elodie, channeling Italian variety show icons like Raffaella Carrà, Mina, and Dalidà, wore a Gucci outfit with a feather boa in a “deep red” hue on the Ariston stage. Feathers are also essential in burlesque performances, cabaret, and circus aesthetics. Think of the feathered and sequined headpieces and boas worn by Pamela Anderson in The Last Showgirl.

Some designers have been fascinated by feathers as a material capable of transforming everyday and ordinary garments into eccentric and “extraordinary” pieces through the complexity of their craftsmanship. Maximilian Davis showcased in his FW25 collection a feathered red coat and bag, framed by a carpet of roses as part of the show’s set—deliberately inspired by a performance by Pina Bausch: “Nelken by way of American Beauty.” Feather use as textile experimentation can also be seen in the FW25 collections of Ferrari, Brunello Cucinelli, and Jil Sander. In the first, Rocco Iannone created a coat with ochre-colored feather tufts; in the second, a feathered outerwear piece was paired with riding boots; and for their final collection as creative directors of Jil Sander, Lucie and Luke Meier decorated dresses and sweaters with feather and ribbon appliqués. Patricio Campillo, for his FW25 collection under his eponymous brand, inspired by the magical realism of Mexican literature and painting, designed an hourglass-fit jacket completely covered in feathers and adorned with a jeweled brooch.

Feathers also inspired the dark universe of Rick Owens, who, for FW25 menswear, created the “kiss boots”—entirely covered in layered feathers. Hannah Rose Dalton and Steven Raj Bhaskaran, founders of the brand Matières Fécales, crafted a post-human aesthetic akin to that of Owens in their debut collection during the latest Paris Fashion Week. Their runway featured dark angels wearing sharp-collared jackets with wings that trailed like Maleficent’s. Similarly, Dilara Findikoglu presented in her FW25 collection a sheer dress with an exposed corset framed by feathers, conveying a vision of femininity that is both gothic and ethereal. Feathers were portrayed as magical and theatrical symbols in the FW25 collections of Undercover and in Alessandro Michele’s first haute couture show for Valentino. The Japanese brand sent down the runway jackets adorned with feathers and buttons, trimmed with fur and topped with crown-like thorns. Michele, on the other hand, staged an overtly dramatic couture debut, presenting true theatrical period costumes—including feathered headpieces paired with ornate floral-embroidered tunics worn over sarouel or shalwar, traditional baggy trousers from the Middle East.

Feathers also appeared in several menswear collections. In Saint Laurent FW25, Anthony Vaccarello proposed classic tuxedos paired with enveloping feather coats and high leather boots: “where you’re respectable on the top, but dirty on the way down,” quoting the creative director himself. Feathers met the surrealist spirit of Jonathan Anderson in his most recent menswear collection for Loewe (SS25). In the show, long pheasant feathers—often painted gold—were attached to bands that bifurcated or obscured the models’ faces. In the corresponding womenswear collection (SS25), t-shirts entirely covered in white feathers were printed with artwork by Vincent Van Gogh. In some collections, feathers were used as complete replacements for traditional garments. In FW25 Courrèges, Nicolas Di Felice designed tops shaped like feathers. Stefano Gallici, creative director of Ann Demeulemeester, included shirts featuring feather panels on the front instead of traditional ruffled bibs. In the FW25 show by Numero 21, Alessandro Dell’Acqua used feathers as dress collars and as decorative details emerging from coats.

A flock of paper cranes formed the set design for Thom Browne’s FW25 show. Models wore jackets embroidered with various bird species, and for the beauty look, they had feathers instead of eyelashes. In Marni’s FW25 show, Francesco Risso referenced this symbol with a patchwork dress featuring bird-shaped appliqués and feathered sleeve edges. The model’s smoky eye makeup mimicked the wings of a crow. This fascination with feathers was also seen in Chanel’s 2025 couture, where classic tartan jackets were designed with feathered shoulder pads, and in Jacquemus’ SS25, where Alex Consani wore a dress entirely covered in yellow and black feathers, resembling a peacock’s plumage. In Luar’s FW25, Raul Lopez presented a look with a feathered headpiece and bag, paired with transparent boots revealing crushed white feathers inside. At the recent Shanghai Fashion Week, the brand Jacques Wei created garments with transparent fringe and feathered edges, also featuring colorful boas paired with long satin dresses.

Feathers also played a starring role in the looks of various artists on recent red carpets. During the 82nd Golden Globes, Ayo Edebiri chose a custom gray suit by Loewe with a gold feather tie. This custom look was a clear nod to an oversized Giorgio Armani suit worn by Julia Roberts at the Golden Globes in 1990. Doechii, during the latest Paris Fashion Week, affirmed her status as a seasonal icon with several standout outfits, including the one worn to the final Tom Ford show: a feather mini-fur, a deep-cut and high-leg bodysuit, chunky gold earrings, and a cigarette between her lips. At this year’s Grammys, Sabrina Carpenter wore a sky-blue JW Anderson dress with feathered trims, evoking the image of old Hollywood starlets, particularly the character of Louisa May Foster played by Shirley MacLaine in the film “What a Way to Go” (1964). Also at the same event, Chappell Roan wore a vintage look from Jean Paul Gaultier’s SS2003 haute couture collection, complete with a feathered hat. Beyoncé also added feathers to her Schiaparelli outfit, and Muni Long accessorized her custom Sergio Hudson gown with a feather boa.