Styntsov Fall/Winter 2025
Styntsov’s Fall/Winter 2025 is a classy and sophisticated collection that quite literally turns on flight mode. The 12 aviation-inspired garments debuted at Fashion Art Toronto (F.A.T) and transformed the runway into, well… a runway! Against the backdrop of airport ASMR sounds, lead designer Anton Styntsov showcased the results of 3D crafting: arched sleeves, bullet cups, and corseted pieces. The collection titled Litak (The Plane) paid homage to flight attendant uniforms and aircraft aesthetics.
The first part of the collection consisted of business-inspired ready-to-wear. Sounds of a plane engine and visuals of sunny skies opened the show, where Styntsov’s garments soared with innovative tailoring and reimagined womenswear silhouettes.
The second part of the show reintroduced key eveningwear pieces from his Ostbahnhof graduation collection at George Brown College. A breathtaking emerald green corset gown captured the essence of Victorian elegance reimagined for the modern muse (look 9). The tightly fitted bodice featured spiral boning details at the bust, evoking the structured femininity of the Belle Époque; while an asymmetrically draped skirt cascaded to the floor in dynamic folds. The ensemble married Edwardian tailoring with modern regality and avante garde—a nod to the designer’s evolution from stark, brutalist silhouettes to softer, fluid forms. The second look of the Ostbahnhof post-evening wear feature was a structured black blazer reimagined as a gown. It embraced the bold power of 1980s executive wear while intertwining it with the romance of ballet-inspired tulle (look 10).
Styntsov’s work is reminiscent of refined and attentive tailoring, featuring princess seams, left-side buttons, and welt pockets. On the runway, the styling sealed a slightly conservative ambiance with subtly revealed collarbones, exposed necks, and open backs. Styntsov’s innovation in front-facing vent skirts (look 6) and wrapped, corseted pieces (look 3) is a hallmark of his growing brand’s craftsmanship.
Key highlights of the collection included suit coats featuring exaggerated, full-arched sleeves—a bold design element reminiscent of a plane’s wingspan (looks 6 and 8). This thematic narrative extended into the material choices, from ethereal silks to polished, aerodynamic leathers. Accessories were equally thoughtful: airplane-shaped pins, meticulously tied scarves, and props such as filing documents and ticket holders transported the audience into the imagined chaos and charm of an airport terminal. With every look, the designer transformed the runway into a theatrical tableau of departure and arrival, inviting the audience to linger in this conceptual gateway of travel and transformation.
The finale of Styntsov's collection remained in line with the airplane narrative, this time capturing turbulence with sophistication, sensuality, and darker hues. A standout piece was the mermaid 3D airplane gown (look 12), stunning in its structural execution, with sheer mesh layers appliqued with 3D leather airplanes on the bust and sleeves, accented with leather tassels. The form-fitting garment was a gothic undulation of fabrics, echoing the unpredictability of change. The underlay of the dress featured black-inked feathers dusting the floor in the model's wake, peeking out at the hem with every step—a mesmerizing detail.
As a fresh graduate and dedicated to his portfolio development, Styntsov’s Instagram offers glimpses of the innovation driving his vision. Through posts, we see futuristic 3D software eliciting a flurry of comments from followers, who imagine themselves in his sharp tailoring and deconstructed designs. His creative spin on womenswear suiting breathes new life into the genre. Seeing these elements take flight in stunning at F.A.T was a reward in itself—a testament to the future of tailoring, suiting, and the redefined luxury of modern businesswear.
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