FS 2025: Fashion as a Second Skin
Words and Photography by Mistral Zerbi, Head Writer
FS Model Leah Chen
While waiting in line to enter the Lower College Lawn Tents — camera in hand, notes app open — I couldn’t help but notice familiar faces I hadn’t seen in a while. A group of five former students, who graduated last June, had made a pilgrimage back to town just for that night, and I have a feeling they were not the only ones. This once again proves, if proof were even needed, that FS is a student-favorite event. Whether you’re a fashion lover, a socialite, or simply a curious observer, nothing in the second semester is as anticipated as St Andrews’ fashion shows.
This year, with Astrea Pulcinelli Triossi (Creative Director), Lara Otto (Executive Director), and Imogen Blain (Logistics Director) leading the runway, FS was an exercise in meticulous curation. From the chosen charity to the designers, styling, models, and theme, every detail seemed measured to the millimetre. And as any fashion enthusiast knows, perfection is always found in the details.
Why “Skin”?
Ava Trandel wearing Scottish Women’s Aid (t-shirt) and Plutos St Andrews (trousers).
Back in November, when I first interviewed Astrea, she spoke passionately about the show’s theme. Clothing, she emphasised, is a “second layer of skin”, something we should feel safe and comfortable in. But FSkin took this idea further, merging it seamlessly into its charitable mission. This year’s chosen cause, Scottish Women’s Aid, was integrated into the very fabric of the show. Every element — the outfits, the choreography, or the atmosphere — was designed to celebrate the human body and its most vital, defining layer: the skin. It’s a common criticism that student-led fashion shows in St Andrews prioritise the spectacle while sometimes forgetting that there is a cause at the very heart of the event. But this year, Scottish Women’s Aid made an appearance on the runway. While male models certainly had their moment — which I will happily get back to later — women took centre stage and were nothing short of mesmerizing.
A show of textures to lead the way: sheer tops, glittering dresses, flowing fabrics that moved like water, layered fantasy patterns, and meticulously structured gowns reinforced with boning techniques. FSkin was a masterclass of fashion craftsmanship.
The glitter and see-through fabrics were undeniable top choices. Both textures, enhancing the value of skin, show that the theme was not taken lightly. Rhinestones and glitters hold a distinct place in fashion, glamorously embodying light itself. Their shimmering surfaces reflect movement, often turning the models into living spectacles. These dresses evoke a sense of high drama, whether through the vintage allure of Antik Batik’s Gatsby-like, 1920s-inspired couture or through Monsoon’s modern shine of crystal-studded dresses. Beyond their aesthetic appeal, they show bold self-expression — an embrace of extravagance and visibility. In a world often drawn to minimalism like ours, rhinestones and glitter dresses remind us of fashion’s ability to make something ordinary, like skin, feel magical.
Hannah Aitken’s ethereal, see-through yellow dress feels reminiscent of ancient Grecian and goddess-inspired designs, reimagined with a metallic modern touch. Alongside 90 Percent’s designs, these pieces, in my view, best embodied fabric as a second skin.
The dresses cling to the body, enhancing natural silhouettes without added structure. It doesn't just sit on the body — it melds with it, creating an almost seamless connection between the fabric and skin. The simplicity of the design leans into the idea that true elegance often lies in forms and comforts. Like bare skin, it doesn't need embellishment to make an impact. The soft jersey fabric reminds us of the sculptural mastery of ancient Greek statues. Like the wet drapery technique seen in the Venus de Milo or Nike of Samothrace, fabric and skin become indistinguishable. Just as marble was carved to immortalise the beauty of the human figure, the texture of these dresses elegantly reveals the curves hidden beneath them.
Lana Testuz | Amy Fawthrop
In terms of message, some saw significance in the gorgeous, wedding-like Amy Fawthrop dress worn by model Lana Testuz. Unlike the other dresses, this one was presented with particular emphasis — as it emerged onto the runway, the lights got darker, the rhythm slowed, and Lana took her time, commanding the audience’s silent attention. Followed by model Kevin Leng, walking just behind her, together they engaged in a choreography that shifted between two faces of pathos — delicacy and, at times, aggressivity. Lana was undoubtedly at the heart of this performance, but how did this particularly connect to the message of the show? Upon visiting the Scottish Women’s Aid website, the very first headline reads: “Scotland’s Domestic Abuse and Forced Marriage Helpline awarded Helpline of the Year”, which is a recognition the charity received in November 2024. Why was this particular dress given such special attention on the runway? Could this "wedding-like" display have been a deliberate nod to the show’s chosen charity, highlighting a particularly pressing issue? Or was it simply a coincidence? One thing is certain: FS demonstrated a respectable level of engagement with the theme and message they wanted to convey, something that can’t always be said for other fashion shows in town.
Highlights: A show for the Fashion-lovers
1.
Here are some looks that undoubtedly caught the attention of the fashion lovers in the crowd.
It was impossible not to stare at this Pecora Nera dress worn by model Chloë Maché — a piece so striking it was featured in none other than Harper’s Bazaar. Fashion enthusiasts were truly in for a treat this year! I must say I felt utterly spoiled by the committee for securing such a standout piece for the runway. The most unique feature of the dress is its sculptural, wing-like extension, flaring out from the back to create a sense of expansion and movement. Risqué, captivating, and undeniably dominant, this was a showstopping moment that couldn’t be ignored.
2.
This deconstructed full-denim look by Tiempos redefines modern denimwear, turning a classic fabric into something edgy, sculptural, and unapologetically bold. The asymmetrical cropped jacket, with its exposed seams and frayed edges, disrupts the expectations of structured tailoring, creating a sense of transgression. Paired with flared, panelled jeans that copy the same patchwork aesthetic, the look feels somewhat nostalgic — reminiscent of early 2000s experimental denim — but also distinctly contemporary. It’s a statement on reinvention, proving that denim can be casual, sexy or even avant-garde.
3.
Julia Hichri (left) and Lana Testuz (right). Designs by Maja
My personal favourite of the entire show — Maja dominated the runway with looks that scream “Maneater”. While Lana Testuz has the presence of a criminal mastermind, Julia Hichri shows the fearless energy of the one who carries out the crimes. These two looks exude power and a quiet sense of danger, blending masculine tailoring with provocative silhouettes. The first outfit reinvents the classic button-up shirt, transforming it into a micro-mini dress with structured shoulders and exposed straps, balanced by thigh-high socks that add a subtle edge of seduction. The second look takes traditional suiting and subverts it with an oversized plaid pattern and sharp tailoring, giving off an air of untouchable confidence. Together, they embody a modern femme fatale energy — bold, in control, and capturing the attention of the audience.
4.
Without shying away from the “femme fatale” discussion, Chloë Maché’s fierce presence was beautifully paired with this one-of-a-kind Taima Castor look. It is a sculptural masterpiece, blending avant-garde tailoring with an enveloping softness. The oversized, asymmetrical layering creates the illusion of fabric wrapping and folding over itself. The rich, textured white fabric enhances the architectural quality of the dress, while the unexpected golden satin lining peeking from the sleeve adds an element of warmth and contrast, like a hidden layer of luxury beneath the surface. A piece of timeless elegance with a twist.
5.
Speaking of timeless elegance, these two looks by Temperly stand out as contrasting yet equally unique highlights of the runway — one delicate and dainty, the other bold and refined. The floral embroidered gown is a vision of ethereal elegance, with sheer fabric that feels weightless, almost as if it’s floating around the body. The soft pastel colours and intricate detailing give it the traditional dreamlike quality of a sundress. In contrast, the white knit Chanel-like ensemble redefines power in a way that differs from what we saw with Maja, presenting it instead with a sense of sophistication. The structured cardigan and matching skirt take inspiration from relaxed housewear, but the long, flowing silhouette and deep neckline add an element of sensuality. Together, these two Temperly outfits showcase a duality, proving that elegance comes in many forms.
6.
Emil Karawani | Tian Quiu
You weren’t expecting to see menswear in the highlights? Think again. While this show was created by bold women and for bold women, we wouldn’t dream of excluding the gentlemen. This Tian Quiu look plays with texture, asymmetry, and layering to create an almost dystopian aesthetic. The oversized silhouette and heavy black fabric evoke a sense of mystery, while the distressed, cross-like embroidered details disrupt the uniformity and add to the unique architectural value of this look. The draped collar and structured layering give the piece a sculptural quality, reminiscent of Japanese designers like Yohji Yamamoto or Rei Kawakubo, where fashion becomes a narrative of shadows and defiance. It’s a statement piece — stoic, enigmatic, and undeniably powerful.
7.
Joshua Diri | Hannah Aitken
Not one but two menswear looks? Oh yes, fashion for men has taken a turn, and FS knows it. There is energy in simple looks, we all know that male fashion doesn’t have to be extravagant, glittery, or see-through to create an impact. This look is an amazing fusion of simple wear and geometric artistry, balancing functionality with creative design. The long trench coat takes centre stage, with its oversized silhouette and angular, patchwork-style leather panels, giving it a futuristic yet raw, handcrafted feel. The contrast between the natural cream fabric and deep burgundy leather creates a striking visual effect, almost like fractured armour or a modern reinterpretation of traditional patchwork. Underneath, the white t-shirt and wide-leg denim ground the look in streetwear ease, making the statement coat feel effortlessly wearable. It’s a piece that feels at once relaxed and originally creative, structured yet free-flowing — a statement of quiet confidence and modern edge.
8.
Jayne Pornterparaks | Tiempos
Finally, a youth-favourite fit made its way on the runway: the cargo and corset combination. This look by Tiempos simply elevated a cool Friday night fit to a runway piece. The design is a striking fusion of elegance and modern streetwear, showing delicacy and edge. The corset top, with its structured boning and delicate floral embroidery, evokes the refinement of 18th-century lingerie, but its cropped, strapless cut transforms it into a contemporary statement piece. Paired with loose, deconstructed cargo pants, the contrast between femininity and utilitarian ruggedness creates a dynamic tension — romantic and rebellious, soft yet strong. The muted, vintage-inspired colour palette further enhances the worn-in, effortless feel, making this outfit an ode to past-meets-present styling, where beauty lies in both structure and movement.
‘Beauty will save the world’
For years now, we’ve been subjected to the arrogance of the fashion world. You think a dress looks ‘weird’? Well, that’s just because ‘you don’t get it’. I can understand that argument when it comes to other forms of art — a painting, a film, or a photograph might not be immediately appealing, but we often search for meaning beyond aesthetics. Yet, as Astrea pointed out in our interview from last November, something feels off when fashion sacrifices its aesthetic looks for the sole purpose of appearing unnecessarily transgressive because, at its core, the first appeal of fashion is to elevate the body — to transform a human figure into an expression of beauty. Fashion should make the body feel like a work of art. When clothes strip away that sense of beauty in an attempt to look ‘original’, they often end up looking awkward, unflattering, or over-intellectualised, and fail their purpose. They stop serving the wearer and instead serve their own self-indulgence. Well, one thing was certain about FS this year — the Creative Director made sure that none of that alienating pretentiousness remained. The clothes were simply outstanding. I (and certainly many others) couldn’t stop thinking that I would have snatched any dress, shirt, or gown from the runway — even the menswear!
When I last wrote about Astrea’s Creative Direction, she told me she was searching for objective beauty in the designs — something undeniably appealing to the masses, something that simply looks beautiful. I didn’t challenge her idea of objective beauty — though, as a philosophy student who struggles to believe in universals, I found it difficult to grasp. But I didn’t need to. Because at the show, it simply made sense, everything was at the service of beauty.
Of course, this does not mean that fashion can’t convey a message, only that the message should not come at the expense of our need for beauty. After all, something can be stylish and meaningful. The brand Useless, for example, delivered a series of sharp, relevant messages tailored to our generation’s quirks. T-shirts emblazoned with “Just Use Less,” “You Look Fucked Up, Let’s Hang,” and “Stop Empowering Assholes” tackled issues ranging from fashion’s unsustainable overconsumption to the influence of social media personalities. If clothing is, in many ways, a revelation of one’s personality — a second skin — then fashion itself can be a statement. This also hints at the potential resurgence of the T-shirt, a simple, comfortable wardrobe staple transformed into a bold expression of identity.
Many Beeskia Vintage looks flooded the runway, capturing our generation’s deep-rooted love for vintage fashion, where the past isn’t just referenced but actively reimagined. From shearling coats and leather biker jackets to patched textures and rugged layering, each outfit reflected the nostalgic yet effortlessly cool aesthetic that dominates student wardrobes today. But vintage fashion isn’t just about aesthetics — it’s about storytelling, sustainability, and individuality, values that resonate deeply with young creatives. The fact that this fashion show was made for students and by students, makes these choices even more meaningful. It’s a celebration of how the next generation wishes to reshape fashion, blending eras, and making vintage feel undeniably modern.
Fashion today isn’t about labels, it’s about style. While legacy luxury brands may have built the industry, they no longer define it. Instead, relevant, forward-thinking designers like the ones showcased in FSkin are shaping what fashion means now, focusing on beauty, innovation, and authenticity rather than just prestige. Every look on this runway reflects that shift: style takes precedence over status, creativity over logos. These designers aren’t here to sell a name, they’re here to craft something meaningful. And in a student-run show, that message is even clearer.
Looks by Beeskia Vintage
Dressing desire
“Have you got colour in your cheeks?” The audience certainly did when the long-awaited lingerie line opened to Do I Wanna Know by Arctic Monkeys — an undeniable anthem of desire.
I must confess, I’ve always questioned the point of the lingerie section in fashion shows. While it’s certainly a visual spectacle, I struggled to see it as something truly necessary. Especially with this year’s theme, a purely sexualised segment at the end would have felt confusing. And yet, surprise. Much like the sheer fabrics used throughout the show, the veils completely transformed the perspective. Traditionally associated with purity and tradition, the veil was reinterpreted as a symbol of sensuality, turning each model into an apparition. Any lover of eroticism would agree: sheer fabric is often more captivating than bare skin. It adds layers of mystery, enhancing the body’s natural beauty while creating a dreamlike, almost cinematic effect. Set against the glow of warm lights, the scene felt grandiose.
As for the men, they stepped onto the runway all together, dressed in simple jeans, a touch of jewellery, and nothing else. This moment was pure, iconic fashion show theatrics, a bold, high-energy display of confidence. Stripping down to just denim, the models turned a classic, everyday staple into a statement of energy and presence. The scene felt straight out of a ’90s Calvin Klein campaign, where simplicity is the ultimate luxury, proving that fashion isn’t always about what you wear, but how you wear it. Under the dramatic lighting, their appearance set a great mood for this segment of the show, and a nod to the timeless appeal of denim.
I might be reading too much into it, but one thing is certain — the audience’s reaction says it all.
As the models lose their poker faces and start smiling, we know the show is coming to an end. The tension melts away all at once, exploding into bottles of champagne, confetti, and heartfelt hugs between the models and their friends in the audience. It’s emotional to realise that, for many, these fashion shows are often taken for granted on campus, and yet remain the most impressive examples of teamwork in our town’s Events scene. But the reality is that, for many students in the committee, as well as young designers, events like this one are a springboard into the world of fashion.
That said, I have a feeling we’ll be back. Just like the graduates who returned for FS this year, you can’t stay away from the St Andrews fashion scene for too long.
From Left to Right: Lara Otto (Executive Director), Imogen Blain (Logistics Director) and Astrea Pulcinelli Triossi (Creative Director).
Special thanks to the FS Committee for having me cover the show, and to Kerry McNeely for helping me identify all the amazing dresses.