Bianca Saunders’ Autumn/Winter 2025 collection, delves into the concept of parallels —a recurring theme in her work. This season, titled “Dichotomy,” Saunders examines the interplay between movement and constraint, two opposing forces that, when combined, create something entirely new.

Inspired by archived footage of male Jamaican dancers, Saunders was initially “drawn to the idea of repetition in dance moves, where sequences are built on simplicity yet come together to create something intricate, intentional whilst forming a cohesive routine”.  This notion of conscious repetition is evident throughout the collection. Signature silhouettes from past seasons are revisited and reimagined, including the oversized, bow-legged Manner trousers and the classic Y-neck long-sleeve shirts, now presented in vibrant pink tones and dynamic patterns. The fluid expression of dance is evocative within the scrunches and creases of the Fragment shirts and Ribbed tops. Returning to the clean cut A/W 24 Square Shirt, the Fragment Shirt's irregular lines break up the body and mimic the inconsistency of motion.

The slow, conscious movement is exaggerated through this season's partnership with multidisciplinary artist Shanti Bell, whose weighted materials mimic and tether the models in opposing motion. Bell’s weighted materials emphasise the deliberate movements and create a striking visual tension. The pair's work first interacted through their involvement in Somerset House’s ‘The Missing Thread’, an exhibition which focused on the shifting landscape of Black British culture and the unique contribution it has made to Britain's rich design history. Their partnership continues to evolve, with Bell’s set designs framing the models and highlighting the collection’s central themes.  “This set design is activated by the human body and as the models move they occupy the space through constrained movement, creating this tension of the fabric that sculpts the space. We considered how this juxtaposition between freedom and restriction could be visually explored, creating this moment of contrast and celebration of movement.” - Shanti Bell. Bell’s immersive set design draws viewers into the physical interactions between the clothing and the environment.

The concept of twisting and tying—a hallmark of Saunders’ work—is prominent in A/W 25. Trouser inseams are twisted, bags are knotted, and legs are tied, creating a sense of conscious deconstruction. This approach draws inspiration from modernist artist Steven Parrino, whose abstract canvases are torn, twisted, and slashed to disrupt their original monochrome base. Saunders juxtaposes textures and materials, pairing soft alpaca knits with creased and crushed ribs, alongside clean-cut water-repellent nylons. This interplay of softness and rigidity mirrors the collection’s exploration of movement and constraint. 

Another key A/W 25 reference is Robert Longo’s iconic “Men in the Cities” series. Longo’s photographs capture sharply dressed individuals in abrupt, contorted poses, generated by real physical stimuli like tethers and thrown objects. Longo’s work captures the energy of physical, unexpected motion which comes from true interaction with the environment, for Saunders there’s emphasis on balancing softer, more feminine elements with classic workwear-inspired silhouettes which can be seen throughout the collection.

Artistic references remain a key element of Saunders’ work. The duality explored in “A Dichotomy” builds on themes first visited in A/W 24’s “Nothing Personal,” inspired by Richard Avedon and James Baldwin’s book of the same name. By weaving together diverse influences, Saunders creates collections that delve into complex, multi-layered concepts.

Accessories for A/W 25 are bold and intentional, acting as both practical and stylistic elements. The knot-style bag, reimagined from its S/S 25 string iteration, now appears padded and oversized for winter. These statement pieces are complemented by alpaca knitted hats and scarves in prints that echo the clothing designs. Continuing their partnership from last season, Saunders has worked again with the Portuguese Association of Footwear (APICCAPS) manufactured by Valuni. These pieces range from classic, riding style knee high boots and scrunched loafers, revisited from the first collaboration, to distinctive square toe pastel dress shoes, laced to the toe. 

With “Dichotomy,” Bianca Saunders continues to push boundaries, blending past and present, softness and structure, movement and constraint. The result is a collection that not only celebrates duality but also transforms it into a dynamic, cohesive whole.

Saunders subverts the classic tailoring of the resort's butlers, chauffeurs and fishermen. A wool-cotton evening jacket with a narrow shawl lapel and accompanying slanted welt pockets is a new silhouette this season. Underneath lay a cotton-twill button-down shirt with a concealed placket featuring a plastic cornucopia print on the back. The print- a nod to the artificial airs of a resort- is also found on the brand's first entrance into ties. A wool blend jacket with a four-button closure features a shrunken shoulder at the back and two back gussets following the back panels. Wool-blend trousers with the classic Bianca Saunders twisted inseam and elongated belt loops accompany the jacket. Saunders debuts an amorphous ripple print that mirrors the contours of the male body- found on a slim-fit cotton button-down with an oversized collar and corresponding leggings. The print is a counter-critique of the obsession with the hourglass figure in womenswear. Sleeveless asymmetric blouses and shirts with wrap-around scarves and a handkerchief placement at the back are moments that showcase Saunders’ blissful drape work.

Immersed throughout the collection are homages to Saunders’ heritage. A dazzling sequin fleece tracksuit reminiscent of the luminous Jamaican night sky is Saunders’ take on the under explored concept of men’s day-to-night dressing. A semi-fitted cropped pleated shirt manipulated to appear tucked in pairs with a mid-length skort with a curved hem. The shorts, which come in both cotton poplin and cupro, are a tender nod to a Jamaican schoolgirl uniform. Vinyl bags with leather straps and oversized jersey Y-neck tanks are respectively emblazoned with kitsch slogans found on travel magnets and proverbs commonplace on prayer scrolls omnipresent in Jamaican households.

Continuing their partnership from last season, Saunders uses responsible fabrics from the LVMH-backed platform Nona Source to create the collection. In the spirit of looking at something with fresh eyes Saunders revamps an overcoat with a concealed hood and storm flaps at the front and back, first shown in AW24 in two versions: a water-repellent nylon and a translucent down-proof fabric. On a pair of Saunders’ staple jeans that appear stretched from the inside, she creates her own pulsating whiskers that shoot up towards the leg. They coordinate with a denim jacket with an extended shawl collar and handkerchief detail at the neck.

In tandem with the release of “The Hotel,” Saunders unveils her first full footwear collection in collaboration with the Portuguese Association of Footwear and Leather Goods and manufactured by Valuni. The six-style collection, ranging from leather mid-length boots to square-toed knit slip-ons, is an intentional step to further actualise the Bianca Saunders world.