With the infectious energy of the show still pulsing through me like an electric current, I was already searching for ‘[cheap] flights to Hong Kong’ as I exited Shoreditch’s iconic Protein Studios, already eager to relive the sheer creativity I had just experienced at the Fashion Hong Kong Autumn/Winter 2025 Runway.
The show marked a spectacular return for the Hong Kong Trade Development Council, which last exhibited at London Fashion Week in February 2018. Founded on the philosophy of promoting Hong Kong fashion designers and labels on a global stage, the presentation conjured a striking visual tribute to Hong Kong’s expansive creative scene. Representing the region were emerging designers—Angus Tsui, Bettie Haute Couture, Rickyy Wong, and Z I D I. Each with their distinct style, the showcase amplified the innovative and diverse talent bursting out of Hong Kong.
Opening the show was Angus Tsui, with an otherworldly selection of garments that playfully fused science fiction and fashion. Paying homage to legendary Swiss artist H.R. Giger, the collection Giger: Perfect Organism demonstrated the designer’s vision of the future through biomechanical design elements, organic exoskeleton constructions, and bold textural combinations.
Angua Tsui AW25. Photography courtesy the The Pop Group
At the other end of the aesthetic spectrum, Bettie Haute Couture followed with Bauhaus Reverie: Contemporary Elegance, a collection that sought inspiration in the past rather than the future, drawing directly from core principles of the Bauhaus movement: functionality, simplicity, and modernity. Mixing gentle earthy tones, geometric silhouettes, minimal staging, and traditional tailoring, the collection celebrated timeless sophistication.
Better Haute Couture AW25. Photography courtesy the The Pop Group
Rickyy Wong’s Odyssey unravelled in a manner entirely in keeping with the collection’s thematic concerns. Influenced by the modern urbanite, the models paced the runway with the nonchalance of seasoned city-dwelling commuters in a series of looks that seamlessly melded Eastern and Western approaches to design. Meanwhile, an accompanying soundtrack, blending both techno and opera, magnified the collection’s focus on the juxtaposition and heterogeneity of the cosmopolitan individual.
Rickyy Wong AW25. Photography courtesy the The Pop Group
Z I D I’s collection, Flux, offered a captivating end to the show, embodying a buoyant, jovial, forward-thinking energy that highlighted Creative Director and Central Saint Martin’s alum Nathan Moys’s immense passion for his artistry. Exploring ideas of temporal flux, digital distortion, and the intersection of humanity with artificial intelligence (AI), the collection featured optical illusions, moiré-patterned fabrics, a cybernetic colour palette, and futuristic styling.
Z I D I AW25. Photography courtesy the The Pop Group
With years of experience working for Maison Margiela and Louis Vuitton, Moy made arguably the greatest impression of the night. Spectators leaned in to absorb every intricacy of his avant-garde designs and to feed off the energy of his models, who actively personified their outfits through their dynamic body language. The highlight of his collection, a trompe l’oeil chrome two piece, left viewers practically frothing at the mouth for more, with many queuing in a frenzy to take a photo with the model wearing it after the show.
Z I D I AW25. Photography courtesy the The Pop Group
The mélange of designs on show, however, were united by a shared appetite for sustainable craftsmanship, with all four participating designers championing eco-conscious fashion and using zero-waste pattern-cutting techniques, recycled materials, and ethical practices. Making it not only a night to remember, but one that stays with the audience long after, encouraging them to spotlight both Hong Kong and sustainability as the future of great entertainment.
Daisy Culleton is an Essex-based writer with a degree in BA American Studies and History from the University of Nottingham.
