Our Legacy Spring 2025 Menswear Collection

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Our Legacy Spring 2025 Menswear Collection
Spring 2025 MenswearRunway_ReviewRunway
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Our Legacy Spring 2025 Menswear collection, runway looks, beauty, models, and reviews.

Our Legacy ’s influence on menswear is such that editors, speaking in shorthand, describe some emerging brands as trying to be the next OL. Essentially they are talking about the legacy of Our Legacy —legacy?—which includes an anti-fashion stance that embraces grunge, moto, and military influences and lends a sense of timelessness to the pieces. There’s also a muted color palette and, since the introduction of women’s, a two-way kind of androgyny. In short, effortlessness imbued with cool.

This season the abstraction was physically manifest in the lookbook in which models were photographed behind glass, at a remove, with reflections sometimes adding texture to the images. This could be read as a metaphor for modern life in a digital age, where content is consumed through a glass screen, but Nying had something different in mind.

The collection’s starting point was Greek fishing villages, and photos of DIY cloth-wrapped motors taken there by Nying’s friend Hank Grüner. Beach detritus, such as grape vines, bottle caps, shell fragments, rope, and fishing lures were upcycled or cast into jewelry. Fishing nets inspired a knotted tank, and the shapes of sails made their way into wrapped skirts.

Nying achieved a “wet look” in various intriguing ways. Airy crinkled sweaters were made of a mix of silk and metal threads, and a cropped white nylon jacket was washed and shrunken to create a clinging effect. There was a requisite marinière stripe created through shadow-like transparencies on a think knit. The classic sailor shirt with the flap collar was edited into a loose-fit, high-buttoning blazer with a “falling collar.

Nying’s imaginary fishing village is, apparently, sun-scorched as the models had artificial sun-burns. Their wet-looks could represent sweat as easily as ocean water; in fact, the glass suggested the former. The intention, Nying said, was to create the feeling of being “inside a bubble or inside a terminal.

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