Receiving an email with the subject line TOP SECRET is not a typical experience for a fashion editor, but it marked the start of an invitation from the Fashion Museum Bath to select their 2025 Dress of the Year. This prestigious tradition, established in 1963 by museum founder Doris Langley Moore, task experts with choosing outfits that act as historical markers, ensuring the collection remains current. The selection process transitions from a moment of excitement to a state of mild panic, especially given that the chosen pieces are destined for a permanent display that is currently being curated ahead of the museum’s relocation to Bath’s former post office building, scheduled to open in 2030. Having closed its doors in 2022, with construction soon to start on a new museum set to open in the city’s old post office in 2030, the Bath museum is currently mid-revamp.
The role of the selector is to capture the essence of a specific year. Past selections have ranged from iconic runway looks by Yves Saint Laurent, Chanel, and John Galliano to significant cultural artifacts like Alexander McQueen’s bumsters, Jennifer Lopez’s viral Versace Grammy dress, Dior’s We Should All Be Feminists slogan, Naomi Campbell’s pandemic hazmat suit, and even the ensemble worn by the Duchess of Sussex during her 2021 Oprah interview. Because the museum allows the selector complete freedom, the challenge lies in moving beyond simple aesthetic appeal to find a piece that documents the cultural zeitgeist of 2025. There is a Mary Quant dress and a Katharine Hamnett slogan T-shirt, Ossie Clark chiffon and Ralph Lauren pinstripes. The roll call of previous selectors is formidable.
For the year 2025, the trend was unmistakably the naked dress. These garments, often characterized by near-transparency, were prominent on red carpets, with examples seen on stars like Margot Robbie, who opted for crystal-embellished looks, and Julia Fox, whose transparent mesh designs drew comparisons to Botticelli’s Venus. Rather than representing mere sexual allure, these designs are confrontational and focus on the body itself. At a time when women’s bodily autonomy is under intense scrutiny in the United States and rapid physical transformations are driven by cosmetic procedures and the prevalence of GLP-1 medications, the body has become a profoundly political space. Interpreted loosely, in the sense of clothing rather than a frock: the lineup includes men’s suits.
I chose a daffodil-colored, sporty mesh dress designed by Sarah Burton for her debut collection at Givenchy. Burton, whom I have admired since her time as Alexander McQueen’s right-hand collaborator in the 1990s, is a designer who prioritizes celebration over objectification. This selection highlights the rare presence of female creative directors in high fashion and serves as a dialogue between past and present styles. Beyond its cultural significance, the dress’s vibrant color and distinct hemline provided the visual impact necessary for a museum mannequin. All the front row grand dames are present and correct.
For the menswear selection, the choice was anchored by the legacy of Giorgio Armani, who passed away in September 2025. Armani’s influence remains unmatched; he redefined modern masculinity by popularizing the smart-casual aesthetic and gender-fluid silhouettes, such as women in trouser suits and men in draped silks. Throughout his career, he remained steadfast in his opposition to the fast-fashion cycle, championing instead the creation of timeless, durable garments. The specific ensemble selected for the museum comes from his final collection, which was unveiled during an emotional, memorial show in Milan shortly after his death.
Ultimately, these selections are designed to preserve the feeling of living through 2025 long after the news cycle has faded. Whether it is the political commentary inherent in the naked dress or the enduring, timeless influence of Armani’s last designs, the pieces were chosen to help future generations understand the complexities of our current moment. While the museum’s current physical location is closed for renovations, the collection continues to be preserved in Wiltshire and remains accessible to the public through digital archives. Meanwhile the collection is stored in Wiltshire and can be seen online.
