Loro Piana looked toward the Big Apple for fall, taking inspiration from both New York’s urban landscape and the warm tones of Central Park in the autumn. Skyscrapers inspired a structured coat made of melton cashmere in pale green, held together by a chunky light brown belt, as well as a brown baby cashmere trench with raglan sleeves. A long, ribbed, baby cashmere dress with side slits had a slightly padded turtleneck, so that the collar stays rigid, and was worn over a chic pair of cashmere trousers in matching beige.
The cashmere specialist added two technical innovations this season: the studio managed to work vicuna into jersey, which is no mean feat as the wool is so fine, and introduced its interpretation of eco-fur in the form of “cash-fur” fleece jackets, which took more than a year to develop. The material was applied to cute teddy bear-like jackets in light brown and cream, which were fully reversible. Cashmere-lined rain boots and a Forget Me Not line of accessories destined to hold all the things that have a tendency to get lost — leather phone and water bottle holders, lipstick cases and even earphone pouches — completed the range.
Is fashion a religion? Alessandro Michele thinks it’s pretty close, with the runway show its most revered ritual. Michele dedicated his fall Gucci collection to the multitiered ritual of designing, making, staging and viewing a fashion show. He spoke of the show ritual in intimate terms, and seemed to channel old-school insider passions.
“Fashion is a complex mechanism, it’s theatrical. All of us work for this ritual, that is almost religious,” Michele said during his post-show press conference, a session filled once again with deep fashion thoughts delivered in a stream-of-consciousness monologue, save for a question or two interjected by a couple of intrepid journalists. Before he was finished, Michele would liken fashion to a circus as well as religion, and his creative role to that of a doctor and physicist. He would explain snippets of his soundtrack — the Fellini voiceover (he’s “talking about the sacredness of cinema and how much ritual there is) and Ravel’s Bolero (“a march that seems to keep going indefinitely”).
Fashion believers, Michele claimed, want to break free but can’t. “It traps you. We are all trapped. Everybody — the hairstylists, the makeup artists, everybody working together so hectically — we all say that one day
Andrea Lieberman is direct in her design approach and evolution for A.L.C. “I never think it’s a radical departure for us,” she noted. “It’s very focused on our girl, her story, her life, her needs. For me, I definitely feel like it’s a lot about keeping things modern.”
To that end, she focused on classic items meant to round out a covetable wardrobe: Think tailoring, knitwear and jeans cut with a preppy Seventies spirit. She brought in interesting textures with chintz pleated fabrics and drapey, side-ruched corduroy tops tucked into the perfect high-waisted straight-leg jeans. A warm palette of auburn, sumac and earth tones made a roomy coat, furry jacket, sweaters and clingy knits more inviting. A tight pink polo cut with a low neckline maintained the perfect balance of nostalgia, proportion play and attitude. “These are things she puts in her closet,” Lieberman concluded. They fill “a real need in a woman’s wardrobe in a modern, sexy and effortless way.”
Burberry is burnishing its green credentials, staging its first carbon-neutral show under the soaring Victorian arches of Olympia London and planning to reforest areas of Australia destroyed by the bush fires, among other environmental moves.
The fall show set — a mix of the elegant and the raw — reflected this new mood: The space was chilly and the floors bare. The latter still had markings on them from the latest trade show.
By contrast, the rectangular catwalk had a deco feel with little mirrored panels lining the sides, while pianists Katia and Marielle Labèque played live on stage as models strutted.
Burberry creative director Riccardo Tisci admitted he’s getting to grips with green fashion, and it remains a work in progress. “It isn’t 100 percent developed yet. We do a lot of nylon, but to get the right nylon is difficult. Nobody has good quality yet,” he said, adding that he still loves real fur.
“I did fur for all of my career because I used to do couture, but I don’t miss it. Now there are so many alternatives that look real, but it is still very expensive because of the technology,” the designer said.
Tisci embraced fur in a big way for
David Koma staged his fall 2020 show at the Leadenhall building, the same East London skyscraper he picked last season.
This time around he went 42 floors up, though, perhaps a sign of his intention to up the ante, take more risks and “close one chapter and start a new one.”
He did that by paying homage to London, “the city that made his dreams come true,” and by melding new and old ideas in a collection packed with attitude and confidence.
The embellished, body-hugging dresses were familiar, but there was also a wider offer of well-tailored blazers and mannish coats, embellished knits, denim jumpsuits and a heftier dose of accessories that fit right in with his signature evening dresses.
References to London were apparent throughout, from the prints featuring the city’s skyline to the 3-D crystal-embellished minidresses that were shaped like landmark buildings and could double as armor.
What stood out was how Koma was unafraid to play with bad taste, be it the extra-large crystal brooches on a cropped jacket, the corsets layered over T-shirts or the letters hanging off a high slit spelling out London.
It was all exaggerated and in-your-face, capturing the city’s wonderfully eccentric nature.
As his business, which just turned 10,
It was bonkers in the best, most joyful way possible: Think tinsel curtains turned into headpieces, larger-than-life wigs, rolls of fabrics attached to the garments and any material combination one could imagine possible, from bejeweled denim and brocade to stiff pin-striped wool patched together with casual jersey and tulle.
Matty Bovan wanted to create an “out-of-body” and “out-of-proportion” experience that challenges people and pushes their perception of taste. That’s why he focused on exaggerated silhouettes that created distorted, angular shapes around models’ hips and backs and mixed all sorts of materials together to create a crafty, undone look.
The bright colors and rich textures only helped make Bovan’s visual feast more exciting: He custom-made a metallic brocade fabric that was morphed into draped jackets and big-volume dresses and showcased his impressive knitting skills with a range of intarsia-knit pieces featuring graphic patterns and the word “Exit” all over — a not-so-subtle reference to Britain’s exit from the European Union last month.
“Everyone’s discussing this kind of seismic shift, and what it actually means. You can’t help but think about it — this is just a more joyful interpretation of leaving and going out into the world. It’s not naive, but a celebration of
The now Hong Kong-based designer Ryan Lo wanted his fall 2020 collection “Dolly Bird!” to be “a bit sexy and a bit naughtier” than the previous Jane Austin-inspired collection. Carrie Bradshaw from “Sex and the City,” Hugh Hefner’s Playboy bunnies, and sexy magician assistants were some of the key references. The results were some sweet, playful yet high-class sexy dresses and outerwear — a surprise best-selling category for the brand — in black and white and full-on color. Milliner Stephen Jones made some playful rabbit-fur bunny ears.
WWD Critique: Lo’s lineup is red-carpet-ready. He managed to get it done by last December before the coronavirus and will be staying in London until the outbreak is contained in Asia.
Miley Cyrus has made her New York Fashion Week fall 2020 debut.
The singer joined a host of other models for Marc Jacobs’ fall collection, which closed out New York Fashion Week. Cyrus modeled a black bra-like top with matching trousers and was holding a zebra-print coat.
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This isn’t Cyrus and Jacobs’ first time working together. The singer teamed with Jacobs in 2013 for a charitable T-shirt which showed the slogan “Protect the Skin You’re In” inscribed on top of a nude Cyrus. She later starred in the designer’s spring 2014 campaign photographed by David Sims. Last year, the duo teamed again to support Planned Parenthood, designing a pink hoodie that read “Don’t F—k With My Freedom.”
Cyrus also wore a look from Jacobs’ fall 2013 collection to the Met Gala that year, which celebrated its “Punk: Chaos to Couture” exhibit.
Miley Cyrus wears Marc Jacobs at the 2013 Met Gala.
Jacobs doesn’t shy away from enlisting celebrities in
Marc Jacobs and I go way back. We started in the industry at about the same time, and in WWD’s then-idiosyncratic breakdown of which market editors covered which designers, I “got” Marc. Certainly, I have admired his work throughout his career and the ups and downs of his company and brand. Some may say too much.
But after Wednesday night’s New York Fashion Week finale, that was all beside the point, for will someone please tell me who in New York is a better designer, more creative, more provocative, more capable of delivering a thrill? And how many lists of “greatest designers in the world,” both current and over the past 30 years, would he not make? Jeez, the guy’s good.
Jacobs is an extraordinary designer, his talent part pure fashion acumen and part showmanship. Over the years, he has staged some incredibly engaging shows, the kind now called “experiential.” This one might take the cake: a band of 54 dancers under the brilliant direction of choreographer Karole Armitage comingling with 88 models in an extravaganza so exquisitely audacious and compelling and masterful that it’s a shame it was one night only. This was a museum-worthy performance-art piece — one that would sell
At Reem Acra, fall came with a relaxed, free-spirited bohemian vibe. Aiming to present a versatile collection, approachable for different women, Acra kept the silhouettes uncomplicated and never too body-hugging. Billowing sleeves and flared shapes defined a range of textured silk evening dresses embellished with jewel-like details at the neckline and the cuffs, while caftan-inspired styles were crafted from lush velvet for a cozy effect. Playing with separates, she paired striped ball skirts with coordinated mini vests, as well as soft knits with plissé bottoms in iridescent colors.
WWD Critique: Taking a step back from hyper-embroidered and embellished designs, Acra embraced a new sense of modern elegance that combined simplicity and preciousness.
Dion Lee started another strong collection with the introduction of jewelry. As a designer who likes to play with elements of seduction and skin-baring elements, he didn’t just show earrings and necklaces, he wove his unique chain-link constructions through men’s and women’s clothing, making them an intrinsic part of the garment. They gathered fabric, held together the pleats of dresses and created interesting smocking techniques on a hoodie and leather skirt. Viewed up close, you could appreciate the intricacy of how they were engineered through knitwear, running the length of one arm to the other.
That led to the notion of suspension, where chains became waistbands for low-rise pants, and woven underwear (leather and fishnet) peeped through cutouts at the hip and above waistlines. “It’s really focusing on the hip region and the shoulder region in the collection [and] weaving underwear to the outside of clothes or exposing them in different ways,” Lee noted. It was applied to men’s on similar cutout pants contrasted with sexy clingy tanks.
Lee’s sweet spot is his subversive handling of tailoring — including hook and eye details on blazers that came undone to alluring effect — yet quieter monochromatic looks in soft drapes of blush and
Nicole Miller’s “rock-‘n’-royalty”-themed fall show started as a spoof of sorts on the royals’ recent media frenzy, then evolved into an offering of rock-star-inspired attire.
Aside from crows printed on shirting or tacked on to jackets, the line leaned more rock than royal. Newness came through a more androgynous spirit, inspired by David Bowie, with male models clad in her more non-binary offerings: shearling and faux-fur coats, leopard- and floral- printed slacks and button-up silky shirting. Throughout the rest of her women’s wear, Miller continued to balance her signature tough-femininity. Leather, velvet and silk offerings with paisley prints or English military-buttons made up a majority of the collection, with rose-adorned frocks sprinkled in between.
WWD Critique: While the collection held plenty of Miller classics, the lineup felt fresh, thanks to its Seventies spirit and more androgynous styling.
Romeo Hunte has always considered Tommy Hilfiger a mentor, so it shouldn’t come as a surprise that the Brooklyn, N.Y.-born designer turned to his idol as inspiration for his fall collection.
The graduate of the Fashion Institute of Technology launched his women’s line in 2014 and expanded into a full men’s ready-to-wear collection in 2018. His street chic collection has been embraced by celebrities including Beyoncé and Victor Cruz.
At his show this weekend, Hunte will be channeling Hilfiger by integrating archival looks and fabrics used by the designer over the years into his own brand.
As Hunte described it: “Tommy Hilfiger has produced some of the world’s most timeless pieces that are still relevant [today]. For me, being able to integrate some of those capsule looks with my cut-and-sew methods, merging the narratives of both brands, means everything. Reconstructing pieces that are already assembled was [also] a contribution to support sustainable fashion.”
Hilfiger weighed in with his thoughts as well. “The next generation of American designers are looking at the fashion industry and building their collections in a whole new way. It’s been a pleasure to mentor Romeo as he’s evolved his approach and point of view — he reminds me of myself
As she has done in the past, Claudia Li used personal memories, this time revolving around her grandfather, to ground her collection. He passed away this year and she wanted to celebrate his life by dedicating her collection to him. It was a heartfelt sentiment that she wove throughout her work, for example, with lots of plaid, as in a mix of plaid printed PVC coats and suiting. “He was always in plaid,” she said with a smile. She wanted bright colors, for instance on a bright pink shearling coat because “he was always so happy,” she added. He often took her to see goldfish when she visited him, so she made a sunny yellow print with goldfish swimming about, which she used on the panels of a slip dress. Much of the collection also explored the tension between hard and soft elements, like when Li paired denim with tulle.
WWD Critique: Several seasons in, Li is hitting her stride with a joyfully crafted collection of fun and colorful clothes with a bits of technical edge.
If at first you don’t succeed, try again.
Danica Zheng, formerly the designer of Pamplemousse (a flirty, cute contemporary label), debuted her new edgier line Danz with a pop-up shop for fall that will run through Fashion Week.
Aiming to attract a cool downtown crowd, she proposed a mix of sleek tailoring and streetwear styles in silhouettes that align more with her personal style: Think sexy slipdresses with chain rope straps and drapes, sharply cut cropped blazers, vegan leather shirting and neon sport luxe items that easily sit next to the likes of Alexander Wang and MISBHV. She injected bits of her culture through modern and fresh takes on the cheongsam cut with premium satin and even offered up handbags and a jewelry collaboration with Sterling King to round out a clear vision of youthful party chic.
WWD Critique: This debut was an impressive one, and Zheng accomplished her mission to make well-executed and desirable clothing that were both effortlessly cool and sexy.
Read more from WWD:
What’s Coming For NYFW Fall 2020
Escada RTW Fall 2020
Common Odds RTW Fall 2020
WATCH: Short Suits Are Trending For Spring 2020
As New York Fashion Week gets underway, the calendar is without several major designers, including Ralph Lauren. He has been mum about when he plans to show his collection and finally revealed Thursday that he would host a “special show” for fall 2020 collection in New York in April.
While his spokesman declined to provide an exact date and location, he said the show is expected to take place in “late April.”
Lauren has been on the “see-now-buy-now schedule” since September 2016, and the fact that he’s showing the fall 2020 collection indicates that he is getting out of that rhythm and routine. Among New York designers who still do “see-now-buy-now” are Tommy Hilfiger (who is showing this season in London) and Rebecca Minkoff.
“Developing unique experiential shows continues to be a primary focus for the brand to engage consumers, maintain a series of freshness and add an element of surprise,” said the Ralph Lauren spokesman. “From the spectacular 50th anniversary show in Central Park to the launch of Ralph’s Café in the Madison Avenue flagship last year, followed by Ralph’s Club for ‘one-night only’ in September, the brand continues to create special and unforgettable experiences that bring the world of Ralph
For the fall season, AG’s latest collection channeled Americana through vintage-inspired garb.
“I like to use that word [vintage] loosely, because we take pieces and modernize it to what AG is,” explained John Rossell, the brand’s creative direction and digital marketing director. Throughout the collection, which featured men’s and women’s wear, sophisticated takes on more classic, rigid jeans felt of-the-now, and were layered with raglan Ts and workwear-inspired jackets. Standouts incorporated utilitarian details, like a brownish-red cropped trouser with cargo pockets, contrast stitching and tapered-out legs, or an elongated, belted denim jacket and beige leather-coated separates. To drive the Americana feel, a palette of “spiced rum” ran throughout the women’s ready-to-wear, while men’s offered moments of winter white within a more subdued, earthy palette.
WWD Critique: Overall, the brand presented a modernized vintage wardrobe through progressive cuts and interesting workwear details.
Read more reviews from WWD:
AG RTW Fall 2019
Staud RTW Spring 2020
Common Odds RTW Fall 2020
WATCH: NYFW Is Back on Top, Thanks to These Young Designers
Ready, set, go.
As buyers, editors, influencers, designers, publicists, celebrities, stylists, makeup artists and just plain hangers-on (you know who you are) prep and steel themselves for the marathon of fashion shows ahead and ponder existential thoughts such as: “What should I wear every day to be sure I am photographed?” “Will I get a good seat?” “Where should we eat?” and “How can I be sustainable (or at least appear to be)?,” the most pressing question in advance of the hundreds of shows and presentations that will be held over the next month in New York, London, Milan and Paris is: What will fashion’s fall 2020 look like?
The answer? Pretty much what we’ve already seen.
The men’s wear shows in all of those cities, preceded and overlapped by the countless pre-fall women’s presentations and shows across the globe, have provided a clear roadmap of the fall trends that will be repeated, and amplified, on the runways over the next four weeks.
The key one is a new strain of minimalism exemplified by Daniel Lee’s Bottega Veneta with its subtly twisted take on clean silhouettes — not to mention highly desirable accessories that have become aspirational targets igniting a trickle-down effect felt across
Following a recent re-branding, creative director Emily Smith reinvigorated Lafayette 148’s brand pillars with elements of surprise inspired by architecture and play on masculine/feminine. Rich leather offerings were standouts, including a matching brown button-down and trouser, and offered elegant ease when layered with cashmere knits, reversible coats and cool mineral-toned fur stoles. Unique logo details adorned an eight-knot cable knit sweater, as well as the new collection of footwear.
WWD Critique: Fall marked Lafayette 148’s strongest collection to date, offering up luxury appeal to a broader, younger audience.
Read more reviews from WWD:
Lafayette 148 RTW Spring 2020
Escada RTW Fall 2020
Common Odds RTW Fall 2020
WATCH: NYFW Is Back on Top, Thanks to These Young Designers
For her first collection as global design director, Emma Cook sought to elevate fundamental Escada house codes — namely tailoring, where boardroom suits have become synonymous with the brand; cocktail dressing, and high ticket shearling, as an alternative to fur. Though Escada hasn’t been associated with modernity as of late, the fall range showed the promising beginning of Cook’s vision balancing sophistication with whimsy, which should appeal to both new and loyal customers alike.
“Just because the brand had its heyday in the Eighties doesn’t mean it should look like the Eighties,” Cook said of her game plan coming onboard, adding: “It was less about the archives and more about the values of the brand and what would that brand stand for today if Margaretha [Ley, the firm’s founding designer] was doing it today.”
With tailoring having its moment on the runway, it was wise of Cook to offer variety here without alienating the more conservative inclinations of returning customers. A head-to-toe logo jacquard suit was a playful standout, with other strong contenders featuring illusory double layers and gold cast buttons.
Gold hardware, in fact, was a common thread throughout, as buttons spelling out Escada accented a cozy and glamorous shearling coat, and
Things are being reshuffled at Courrèges following the departure of creative director Yolanda Zobel at the beginning of the month, but some stayed pretty rooted: vinyl featured heavily for fall 2020, the designer’s last collection for the house, as did sustainability, an angle that Zobel strove to push at Courrèges.
In a collection inspired by images of French women from the Seventies, the label introduced a fresh version of its vinyl jacket, with a ballerina-like criss-cross front in a soft lilac hue. It was created in renewable polyurethane made from natural ingredients, coating an organic cotton base. Paired with dressy high-waisted trousers, the effect was sweetly ladylike. Graphic tights and body-con jerseys added a bit of fun to the dressed-up looks, while a yellow sponge sweater and sweatpant combination hinted at the house’s sports connection.
The outerwear was this collection’s strong point: a pale green cotton bomber jacket as well as a long belted dark brown trenchcoat were updated versions of house classics. It was a palatable, very much wearable collection, but it lacked the roughed-up touch that has become synonymous with Zobel’s tenure at Courrèges. It read as a direct translation of the house’s heritage, with a couple of staple pieces
Everyone’s hankering after comfort these days — but the stylish kind — and Isabel Marant is right in there, with ponchos and alpaca sweaters, waving her fashion wand over gaucho classics, and pairing them with scrunched Eighties-style boots with sharp heels and toes. A sleek, leather puffer vest looked chic with wide, signature Marant shoulders and cinched at the waist; so, too, did the numerous options of high-waisted jeans that pouched in just the right places. She added length to a boiled wool workwear shirt in plaid, turning it into a new kind of overcoat.
WWD Critique: Marant has a knack for working style with a weather-worn flavor — here again, she mastered volumes with striking results.
Fresh off its recent acquisition by New Guards Group, Ambush has big plans. Yoon Ahn, creative director of the brand she cofounded with her husband, Japanese hip-hop artist Verbal, said the first order of business was to streamline its 150 points of sale.
Next, she plans to add new categories to the label, which started out with jewelry but now makes 65 percent of its revenues from ready-to-wear. “Jewelry is always going to be a big part and the DNA of the brand,” she said. “I think we can definitely expand into shoes and bags so it becomes a full outfit.”
For her fall collection, inspired by the Japanese countryside, Ahn focused on layered silhouettes, with a beefed-up selection of knitwear and the introduction of the label’s first denim line. Layers of flimsy tops, kimono-collared jackets, raw-edged tailoring and padded coats gave the looks a lived-in feel.
Ahn said she was inspired by Jackie Nickerson’s “Farm,” a book of portraits of agricultural laborers in various African countries. Her jewelry also had a more grounded feel this season, with the introduction of natural stones alongside her signature padlock and chain designs.
The decade is barely started but Heron Preston is already looking at the road, or rather building work, ahead. Comparing the world to “the most complex construction zone we have ever witnessed,” Preston offered men hard-wearing slim-line trousers, cargo pants, hard-wearing outerwear, or a shortened, more fitted version of his classic T-shirt. The women’s swung between tailored utility — nipped-in chunky sweaters, roomy jumpsuits or form skimming suiting — and slinky options like corset tops, slipdresses or zippered bustier dresses. If the crews that build our world remain unseen to most, these clothes will surely be seen at hip parties come the fall.
Many pieces felt like they could cross the gender divide. “I posted the Spirit Level heel and got so many comments from men who loved it. It also helps people have more of an open-mind at seeing that crossover,” Preston said backstage.
This season’s collaborators included Caterpillar for the orange Stormer boots, and the British Ministry of Defense, whose wildlife conservation project protects animals from poaching in Africa and who approved Preston’s design featuring their Rhino patch, Cyrillic “Style” embroidery and all. A portion of this collection’s profits will be donated to the African Parks organization.
Another was Los Angeles
“It’s not really a superstition but the number nine keeps appearing in my life, since I was a kid,” said Alexandre Mattiussi, ahead of the show for AMI’s ninth anniversary, showing the Roman numeral tattooed on his wrist. “When there’s nine somewhere, I’m happy.”
The show celebrated the über-Parisian identity of the brand, taking place at the Trianon, a 19th century theatre and concert hall near Montmartre. On each seat, a book chronicled the almost-decade of the brand, opening with a childhood portrait of Mattiussi, who turns 40 this year, and a sweeping view of the Eiffel Tower as seen at his fall 2019 show.
Models emerged from the scene’s velvet curtains accompanied by a live accordion performance by Bosnia-born musician Mario Batkovic. For the finale, the curtains rolled back to reveal a décor depicting a Parisian street in which the models arranged themselves around tables, along steps and in windows, with French actress Audrey Marnay taking pride of place at a café table.
The lineup had a decidedly Sixties flavor, although bowler hats dotted throughout skewed Charlie Chaplin meets “A Clockwork Orange.” Magnified details like wide-rib corduroy, sequins the size of sand-dollars and large houndstooth patterns gave a Polly Maggoo flair to
The stuccoed rooms of Palazzo Gerini with chandeliers covered in drapes and burning candles served as a cinematic backdrop for Brioni’s fall 2020 event, a hybrid of a presentation and a musical live performance curated by fashion historian Olivier Saillard with classical instruments players acting as models. Even if the setting looked highly suggestive, it was quite compelling for the audience to actually see the clothes.
In keeping with Brioni’s design director Norbert Stumpfl’s vision, the brand marked its 75th anniversary with a more relaxed approach to tailoring. During a preview a few weeks ahead of the show, Stumpfl said he is not doing “fashion, it’s more about style and showing men how they can wear these extremely luxurious clothes in a very easy way,” he said, referring to the overall sense of laid-back sophistication infused into his collection, mainly conveyed through tiny details and a delicate color palette of buttery white, washed beige and dashes of pink.
A coat made of double-faced alpaca left undyed to preserve its natural color was paired with white denim pants and a white overcoat crafted from Mongolian cashmere sourced from albino species, completed with white horn buttons, was worn over a taupe jersey crewneck and
“I wanted to focus my collection on zero waste and changing the perception of disposable items such as clothes,” said designer Alexandra Hackett, who showed her collection in a basketball court in South London.
She employed recycled and deadstock materials to create such tried-and-true sportswear tropes as track pants, vests and boiler suits. She widened her use of eyelet hardware — a brand signature — on garments such as a navy blue vest top, straight-leg pants and messenger bags.
To further hammer her point across, Hackett introduced prints depicting crushed plastic bottles, which helped spice up her collection.
At six years in, designers of Beaufille Chloé and Parris Gordon are a label setting a modern template for their contemporaries. While they have fostered a strong point of view from the beginning — making feminine pieces with a tough edge — their fall assortment shows that it’s more than individual garments that sets them apart.
One way is their deeper push into sustainability. Yes, it is a far-reaching topic and the sisters approach it with a thoughtful consideration. It starts with their fabrics — the duo uses textiles made from 50 percent recycled plastic bottles and 50 percent organic cotton on some pieces.
“We think about if we cannot make a piece out of 100 percent sustainable material, then how else can we make it sustainable,” Chloe said. She went on to explain that one way is by creating a transitional wardrobe with pieces “that aren’t just seasonal.”
There was a section of monochromatic pleated pieces that created compelling shapes. A jacket with removable lapels. A three-way wrap dress with a skirt that unbuttons and a belt that can be undone, it broke up the body into three key places. Many pieces had a mix of these types of built in styling
Fall is shaping up to be a strong season in the contemporary market. Although the season got off to a slow start with unusually warm weather, business now appears to be percolating at retail – and the cold snap across much of the country over recent days could add a further fillip.
Modern suiting, novelty knits, straight and wide-leg silhouettes in pants, midi-skirts, faux fur jackets, leather dressing, animal prints and tie-dyed styles are among the looks that are selling well around the country, according to a spot check of retailers.
Store executives said vendors are offering a lot of the innovation in the market this fall, and that customers are experimenting with new looks to spruce up their wardrobes.
“Business has been strong. I think the styles this year and the trends are very enticing and new and are something they don’t have,” said Samantha Greenes, buying director of Blue & Cream, which has two stores in East Hampton and Manhattan, in addition to an online business. She said that contemporary designers have elevated their styles and trends so it’s more attractive to people who might have bought designer.
Here’s what stores had to say.
“Head-to-toe leather dressing (including vegan leather) is a top
November, for many, marks the final opportunity to pitch a tent in the woods, take a hike up to a lofty summit, or fly-fish for trout. And as the days get shorter and colder, bundling up for the outdoors becomes the no.1 priority. But just because you have to layer up doesn’t mean you can’t don the latest fall fashion essentials.
When you’re planning a weekend getaway, be sure to pack more than the latest technical gear for your active pursuits. These new fall fashions are the perfect fit for any adventure—and happen to look great, too. Whether you’re in knee-deep water on the creek or climbing in search of a great view, some fall fashion pieces are ideal for any environment.
Prepare yourself for the upcoming DC Comics 2014 Fall TV schedule with these essential reads featuring preview pages from GREEN ARROW: YEAR ONE #1, THE FLASH #1, GOTHAM CENTRAL #1, JOHN CONSTANTINE, HELLBLAZER #1, and CONSTANTINE #1! Along with previews from these best-selling titles, this special one-shot includes suggested further graphic novel reading for fans looking to learn more about these dynamite characters before they explode onto the TV screen!
Clothes make the man, as the saying goes, but we’d argue a signature scent is pretty damn influential, too. Fall fragrances especially. They have more depth and complexity than the bright, citrusy scents of summer, adding some intrigue and mystery to a man.
After all, when it comes to men’s grooming, very little changes from one year to the next. Beards grow in the cold, then disappear with the sun. Hairstyle trends make some waves—with celebrities and shows inspiring legions of men to go for something new, like a period-style cut à la Peaky Blinders.
That’s why fragrance is the most exciting part of the industry: Scents evolve with each season, and they transport the recipient like a song. That’s far more than moisturizer or conditioner can do (but please don’t stop using either of those).
Moreover, fall is one of the more dynamic seasons when it comes to scents. Below are five standouts from the 2019 freshman class (No.1 Arquiste Misfit EDP to No.6 Henry Rose Fog EDP), as well as five autumnal alumni (No.6 Costume National Homme EDP to No.10 Chanel Bleu de Chanel EDP) that deserve perennial accolades. Upgrade your signature scent with one of these, and you’ll feel like a new man, guaranteed.
Rule #1 of celebrating a championship — MAKE SURE YOU DON’T FALL OFF THE PARADE TRUCK. Members of the Gaelic football team Enniskerry GAA ended up having to celebrate their Wicklow Junior B-level football championship in the hospital over…
We’re a culture that thrives on instant gratification. Shopping is evidence of that. Why make a trip to a brick-and-mortar store when you can browse for everyday essentials from your couch, then have them delivered to your door in a matter of days? For some time there were exceptions to this convenience. For instance, buying prescription eyeglasses required multiple visits to get an eye exam, work with an optician to find a flattering pair of frames, then wait for them to be made before you could get prescription eyeglasses. But now, you can bypass the middleman. So long as you have a current prescription (yes, you still need a yearly eye exam), you can upload your script and get a pair of eyeglasses shipped right to you.
We spoke with Kim Nemser, vice president of product strategy at Warby Parker, the brand that started the craze, for some must-know tips and tricks. Once you’re armed with the necessary knowledge, check out our favorite new frames of fall 2019. They’ll give you the fresh start you need.
The Best Styles for Each Face Shape
Geometry plays a considerable role, but you ultimately want to pick frames that look and feel good. “Beyond considering your face shape, it’s important to consider the width of your face, especially with optical frames,” says Nemser. “Wide frames can overwhelm narrow features, and frames that are too narrow can result in an incorrect fit.” Here’s the quick and dirty on the most flattering frames for your face shape:
Round: “Try a graphic frame,” Nemser says. “Think: a rectangular pair with more pronounced angles and edges.” Diamond/Square: “Juxtaposition is key,” Nemser explains. “With an angular shape, go with a style that has softer edges. Round-lensed frames balance out strong jawlines or cheekbones.” Heart: “Heart-shaped faces can pull off the aviator style—a tried-and-true shape with smooth lines that complements a wider forehead,” Nemser says. Oval: “An oval-shaped face is great for most frames, since the ratio of your facial features is balanced,” Nemser says.
Choosing Colors to Match Your Skin Tone and Hair
You’ve probably heard that cooler skin tones look best in blues and greens, while reds and oranges flatter warmer skin tones, but there’s no hard and fast rule with eyeglasses. “Frame color is usually a personal preference, based off what people are most drawn to,” Nemser says. “Green has been trending in the market, and we introduced a ‘rosemary crystal’ this August. We’ve also seen bold tortoises, matte colorways, and graphic two-toned acetates continuing to do well.”
Embrace Your Quirks, Know Your Fit
It’s easy to assume you just need to tighten the arms of your glasses in order to ensure a proper fit, but there’s actually more at play here. Here’s how to tell if you’ve found a pair of well-fitting frames, according to Nemser:
Pupils are near the center of each lens
Lenses don’t extend past the sides of your face
Eyebrows are above the glasses
Temples sit comfortably on your ears (and aren’t too tight or too loose)
When you smile, your cheeks don’t push the frames up
“We know how important it is to find the right fit, so we offer a few no-risk ways to try on frames before purchasing,” Nemser adds. “Through our Home Try-On program, we’ll send you five frames for free to try on for size. If instant gratification is your thing, you can try on frames virtually through our app on an iPhone X. Alternatively, pop into any one of of our retail locations, and our advisors are happy to help—plus we offer a 30-day, no-hassle return policy for any frame purchase.”
Note that brands have sizing options—like wide and narrow fits—depending on the frame. For instance, Warby Parker has “low-bridge” fit for people with low nose bridges (if the bridge of your nose sits level with or below the pupils), wide faces, and/or high cheekbones. “They help keep frames from sliding down your face, resting on your cheeks, or pinching,” she explains. All of those factors indicate an improper fit.
“We also offer variations in nose pads (for less tension and to reduce slipping), lens tilt (to provide space between the cheekbones and the frames), and curved temples (creating a roomy fit, reducing pinching and any pain).” That said, if you’ve struggled to find comfortable frames in the past, it’s worth going to a brick-and-mortar store rather than shopping online so a professional can help you optimize your frames.
Consider a Specialty Lens
For the most part, it’s always best to consult an optometrist if you’re unsure whether you want a specific lens. “We offer blue-light-filtering lenses for everyday wear, for those who want to protect their eyes from UVA rays, UVB rays, and blue light,” Nemser says. “They filter more blue light from the sun and other sources than standard polycarbonate lenses and can be added to any frames with or without a prescription. For those who wear glasses every day, our standard lens options are treated with anti-reflective, scratch-resistant coatings, and come standard with impact-resistant polycarbonate lenses that block 100% of UVA and UVB rays.”
Tips for the At-home, Try-on Process
“At Warby Parker, we usually recommend starting with the quiz to get a sense of what frame shape, fit, and colors work best for you,” Nemser says. “Once you receive the glasses, you have five days to try them on for size. We recommend wearing each pair for an hour or so to get a feel for the fit. Sharing photos or consulting a friend (or even our Customer Experience team) is encouraged when making a style decision.”
What to Do if Your Eyeglasses Need an Adjustment
“All Warby Parker stores offer free adjustments by trained opticians onsite to ensure your glasses or sunglasses are the perfect fit,” Nemser says. “If there’s not a retail location nearby, we’ll reimburse you the cost of one adjustment (up to $ 50) within 30 days of purchase.”
Just friends. Right? Lacey Adams is a tomboy of the highest order. She lives and breathes independence and most certainly doesn’t need a man. Until life throws her a curveball, and she falls right into the arms of her best friend. Quinn is conveniently strong enough to catch Lacey’s fall. Lacey suddenly notices Quinn is smokin’ hot. She’s in danger of melting on the spot, so it’s handy she doesn’t have to worry about falling. Except maybe she does. Quinn long ago gave up ever thinking he might have a chance with Lacey. Until one kiss changes everything. Lacey falls into Quinn’s arms for nothing to do with love, but she can’t escape the sparks flying between them. Meanwhile, she’s facing down a challenge to the strength that defines her and finds herself turning to Quinn for support in ways she never imagined. Sometimes when you stumble and fall, you discover who’s there to catch you. *All novels in this series are full-length standalone novels with an HEA.
A pictorial essay of Western personalities complete with in-depth profiles. We believe all of these people and their stories will be interesting and inspiring to most men and women, and the imagery both flattering and enjoyable to all
As the days get shorter and the shadows grow long, it’s not too early to think about your fall wardrobe. Right now at Macy’s, there’s a fall sale where you can get fantastic autumn essentials to get you through the shoulder season. They’re all on sale and ready to wear for fall, go let’s get shopping.
We’ve cobbled together nine great items below, from lightweight jackets to chukkas and Chelseas. Any of these stylish items will be a fantastic addition to your autumn arsenal. There is a sweet rain jacket from The North Face, and a legendary Levi’s denim jacket that’s the perfect, perpetual top layer. And a great selection of boots that are perfect for the office or campus.
So. Many. Boots.
We’ve even included a couple of waterproof boots that will serve you well into wintertime and beyond, because they’re such a great deal right now. And prices on winter gear will only go up, anyway. The 6-inch blonde Timberlands are a cold-weather staple for any guy, and we won’t see prices this low until the holidays—if then. Pair them with classic blue jeans and a pullover, and you’ve got your winter base layer.
Of course, a simple, unadorned black cotton hoodie is the ideal autumn go-to. This Tommy Hilfiger hoodie is perfect for wearing between classes or to the gym. It’s got a dark, crisp colorway but a soft, lived-in feel. Wear it as a mid-layer between shirt and jacket, and you’re set until spring—probably further.
And if you’re finally ready to upgrade your old leather jacket for some fresh skin, right now you can get into a classy-yet-edgy, zip-up leather bomber jacket by Cole Haan that’s marked down nearly $ 200 off its regular price. This gorgeous leather jacket will last for years. The lining is polyester, so you won’t have to wait till winter to wear it. Throw it over a t-shirt and it’s ready to rock right now.
So get over to Macy’s today and grab these fall sale deals before they’re gone.
Aspen I gave my heart to a Navy SEAL.  He took it with him to his grave.  Eleven years later, ignoring the yawning void is as automatic as breathing. Working brutal hours, dating a comfortably commitment-phobic guy, hanging with my best friends. Anything until exhaustion—or an extra glass of wine—claims my consciousness. My neighbor’s handsome, enigmatic son invades my comfort zone.  He says he’s a tattoo artist. But Anderson Hawkins’ piercing green eyes, mastery of the short answer, weird schedule, and military ink tell a different story.  His touch ignites a long-dead flame inside me. A flame I’m afraid to examine too closely, even as I’m drawn to its heat. Anderson I retired from Delta Force  Now I work at a high-intelligence security agency But working undercover isn’t the adrenaline rush it used to be.  For one thing, my Mom’s illness shifted my priorities to finding a way to save her. For another, her neighbor next door, whose prickly defenses belie the unflinchingly caring heart underneath, has slipped under my skin. Now my mission is to convince her it’s safe to unlock her heart. Because I’m ready to give her mine. Note:  This contemporary romance contains a wary, overworked doctor who’s a military widow in every way but name, an ex-military hero accustomed to treading dangerous ground, brought together by a few unexpected twists and turns—and maybe the machinations of a cute dog.  Read it today
Max Payne 3 Issue #1: "After the Fall", the first chapter in the three part Max Payne 3 comic series is now available in digital form. Beginning with a confrontation at a dive bar in Hoboken from Max Payne 3, "After the Fall" then flashes back to tell the story of Max's troubled upbringing – shedding new light on Max's life through key events from Max Payne and Max Payne 2.
Yahya Abdul-Mateen II is joking—or maybe not—when he says that the title of his breakout movie should be Aquaman: I Watched It on a Plane. Evidently that’s what some people tell him upon learning that he played the villain Black Manta opposite Jason Momoa’s marine superhero. It made $ 1 billion, so folks saw it in theaters, too.
Haven’t flown much lately? Then maybe you recognize Abdul-Mateen II from his first role, playing Cadillac on Baz Luhrmann’s The Get Down, a Netflix series about the rise of hip-hop in the 1970s. You might also know him as Karl, the lead in the latest season of Black Mirror. Little kids who saw Abdul-Mateen II in The Greatest Showman opposite Hugh Jackman joyfully tackle him. Still not ringing any bells? Just wait for his starring role in an adaptation of DC Comics’ Watchmen on HBO, opposite Regina King, out in October.
In fairness, Google can’t quite place him, either. The search engine says he’s an architect. Here’s what happened: The now 33-year-old was an undergrad at U.C. Berkeley, studying architecture, the fulfillment of a childhood dream to be in construction like his father. (Rejected career choices, circa age 5, include: basketball player, boxer, race car—as in an actual automobile.) He needed an elective, and a teammate from track recommended he take acting. “At the end of the semester,” he says, “the teacher told me, ‘You know, you’re pretty good. You should take some more classes,’” He did.
So the man can act. And he wears the hell out of some retro-inspired clothes. They reflect his own just-over-the-top style. “In college, before a party,” he says, “I’d ask my roommates, ‘How does this look?’ They’d say, ‘Stupid.’ I’d say, ‘Good.’”
Abdul-Mateen II wears two silver rings, one encircled by fleurs-de-lis, the symbol of New Orleans. He grew up there, before his family moved to the Bay Area.
He has with him two duffels. Those, and photos of his mother and late father, constitute the bulk of his immediate possessions. Abdul-Mateen II is a nomad, living on location or crashing among five older siblings.
Abdul-Mateen II’s family, and a few close friends, help him navigate his career. “I have to be careful,” he says. “Right now there are plenty of opportunities to say yes. I can get offered a role I should turn down, but think, ‘I can make that into something.’” He’s choosy about who he works with, like Jordan Peele, his director in Us and producer of Candyman, which Abdul-Mateen II is set to star in next year. Also indie filmmaker Zeresenay Mehari, who directed him and Dakota Fanning in the upcoming Sweetness in the Belly.
And Abdul-Mateen II is also writing a ton. It started on the set of Aquaman. He was scheduled to shoot at the very start of production and at the tail end. The middle three months was a slog of lifting weights just to stay in bad-guy shape. During lonely hours at the gym, he started dreaming up stories. “I lay out a blueprint,” he says, “with pictures on a board, lines connecting them, taking advantage of the fact that I think three-dimensionally.” He’s an architect, after all.
It’s clear the star of HBO’s Watchmen is caught between up-and-coming and here-and-now. As for his style—that, you’ll see, is timeless. Here’s our 2019 fall fashion preview featuring Abdul-Mateen II; check the credits to get the looks for yourself.
Get the Look (shown above): Canali Unlined Double-breasted Coat ($ 3,650, canali.com); MSGM Turtleneck ($ 410, msgm.it); Tommy Hilfiger Icon Trucker Jacket ($ 169, usa .tommy.com); Levi’s Made & Crafted LMC 511 Jean ($ 148, levi.com)
A desperate athlete. A super-soldier experiment. Will cutting-edge technology change the world or destroy it? Indiana Beckham’s lifelong goal has just been cut down. Banned from competing in Olympic fencing, she jumps at the chance to join a research project that could make her the best. But to unlock the promise of her unlimited potential, Indiana must endure a risky, life-altering transformation… Lieutenant Arthur MacGabran has a mission: advance humanity in a single generation. Eager to prove his neuro-technology, he ignores the dangers and recruits his first live test subject. But when Indiana’s enchanted abilities turn deadly, he’ll have to keep a shocking secret to fuel his twisted dream… As Indiana harnesses her super-skills, the project and its subjects teeter on the edge of termination. Will the fencer’s attempt to better herself end up destroying her instead? Fall to Earth is the first book in the action-packed Pillars of Fire and Light military sci-fi series. If you like high-stakes technology, intriguing characters, and super-human soldiers, then you’ll love Ken Britz’s thrilling novel. Buy Fall to Earth to launch into a futuristic adventure today!
The domed Chapelle Expiatoire tucked into a quiet square in the 8th arrondissement, built on the original burial site of Louis XVI and Marie-Antoinette, provided the mystical backdrop for Clara Daguin’s first couture presentation.
The 2016 Hyères finalist, who specializes in combining artisanal techniques with technology in a form of science fiction meets fashion, showcased a single creation. Dubbed “Atom” and worn by her sister Mélanie like a living installation, her dress — if that is what it can be called — undulated in time to the soundtrack, activated by sound thanks to the circuits worked into the fabric.
Like the rings of gas that surround certain planets, four gauzy halos oscillated and glimmered around a column dress completely covered in five kilograms of glass beads, mirrors and neopixels, a pattern like a double-helix flickering mysteriously.
The creation of the design necessitated 3,142 hours of handiwork by a team of 31 helpers. Even in fashion’s tech-driven future, craftsmanship has its place.
With North Africa as inspiration, Zuhair Murad worked traditional carpet patterns into richly colored jacquards and hand-beaded jackets — using them to bring a new flavor to his world of decadent sensuality.
“I like in every collection to search for a theme and to let people dream, and enter the dream somehow,” Murad said before the show. His North African jaunt, which he called “Mirages et Oasis,” came in deep reds and purples, infused with Lurex, as well as some jazzy, solid-gold statement numbers. Last season’s pleated pastel rainbow dress — worn by Chiara Ferragni last week in an Instagram post that garnered more than 500,000 likes — came in gold renditions, one with a muted leopard print and embellished with sequins, and another with an iridescent sheen and a matching cape that billowed out behind.
Also in the heart-stopping category: a fiery orange chiffon dress with puffs of feathers lining the cape — the airy gown flowing from a tightly wrapped bustier.
Murad keeps it all highly elevated, yet he relishes contradictions. Here, he used velvet as a contrast to the shimmery and beaded sides of the collection, lending a quiet softness to the high volume lineup.
New this season: fabric headbands. Murad was
The prime definition of glamour as “an attractive or exciting quality that makes certain people or things seem appealing” links it unquestionably to the world of couture. Viktor Horsting and Rolf Snoeren considered another facet of the word and started an “investigation into the original meaning of the word — casting a spell,” Snoeren said.
They had, they said at a preview, wanted to work with Claudy Jongstra, a fellow Dutch artist who has embraced sustainability in her work. To create felt such as the one used as a cornerstone of this collection, she raises her own flock, shears their wool herself and then dyes them using only plant pigments taken from her organic garden — including the elusive “Burgundian black,” a medieval recipe that produces a deep black with red undertones, which she redeveloped. Talk about a process.
But there was no preaching message behind Horsting and Snoeren’s musing. Rather, they wanted to inspire action. As the general feeling of doom about the environment rises on all sides, the designers wanted to “show something that would give a positive message,” Horsting said. “To cast a positive spell that says things can be done,” Snoeren added.
To stay in the spirit of her
Guests arriving at Jean Paul Gaultier’s headquarters in the sweltering afternoon were offered a choice of refreshments: a Magnum ice lolly or a glass of Champagne. Either one was perfect fare to settle in and watch the pregame entertainment.
Dressed in full evening gowns, guests crowded onto the catwalk to pose for photographs. Drag queen Violet Chachki furiously fanned herself as she greeted Swedish p.r. Fredrik Robertsson, rocking a green sequined hooded dress. Catherine Deneuve swooped in on Alber Elbaz, running her fingers through his bleached hair.
In a corner, Christina Aguilera sat with a sour expression as camera flashes went off in her face. Meanwhile, Hong Kong billionaire Stephen Hung, wearing silk Versace pajamas and velvet slippers, maintained an impassive expression behind his mirrored Ray-Bans. Robert Altman, eat your heart out.
By the time the show kicked off at 3:15 p.m. to the sound of Technotronic’s “Pump Up the Jam,” the space was filled with the kind of nervous energy one usually finds in a nightclub. Whoops and cheers greeted the first looks down the runway, including a quilted jacket that looked like it was made of fur.
It was an optical illusion: Gaultier, a fan of trompe-l’oeil effects, had used a photo
If one believes in the multiverse theory, it’s entirely possible that Guo Pei’s creations are just the thing to wear when stepping out for a formal occasion. Such was the premise for a collection titled “Alternate Universe” that read as a Neil Gaiman-esque mythology in which goddesses of all creeds mingle among mortals. After all, what else to conclude from a show that starts with a pair of conjoined twins appearing from under a crow-laden arch?
That the Chinese couturier kept to a predominantly cream, metallic and gray palette gave her collection a cohesiveness reminiscent of Greek statuary. And details emerged despite the profusion of embellishments.
Embroidered scenes on dresses depicted “angels and Satan sit[ting] next to each other,” “monkeys sitting on the king’s throne under the guidance of prophets,” flocks of birds and esoteric motifs in the manner of illuminated manuscripts. There was one ballgown decked out as a human puppet theater, strings held by some sort of animal. A crow was perched on the shoulder of another gown with ballooning sleeves.
The final look was a complete tableau, the model in a marigold dress framed by a green knoll of silk chiffon grass, garment and landscape bleeding into each other.
1994 Oscar® winner: Best Cinematography. Based on the novella by Jim Harrison, this sweeping romantic epic is about the Ludlow brothers–two men (Brad Pitt, Aidan Quinn) in love with the same woman (Julia Ormond). Also starring Anthony Hopkins. Directed by Edward Zwick (The Siege). Screenplay by Susan Shilliday and Bill Wittliff.
The magic continues. On Wednesday night at the Hôtel Salomon de Rothschild, Valentino’s Pierpaolo Piccioli staged another dazzling show. Make that an event, one without the bells and whistles of a major set, but with a high-intensity front row that itself dazzled — Gwyneth Paltrow and Celine Dion in white, and Piccioli’s new BFF Naomi Campbell, who didn’t get the white memo and instead rocked hot pink stripes and a floppy hat. Their row of honor was anchored by Valentino Garavani and Giancarlo Giammetti. (The positive relationship between the house and its founders, who cashed out years ago, is a lovely anomaly.)
The audience settled in for the latest turn in a brilliant series that has catapulted Piccioli to the forefront of the haute oeuvre. After the passing of Karl Lagerfeld and with John Galliano doing fascinating experimental work at Maison Margiela, Piccioli is its undisputed leader. His belief in couture’s ongoing relevance is well-known, including that even haute can espouse inclusivity as indicated by last season’s casting of mostly black models.
“It’s important today to dream of a world without boundaries, where everyone can live their own routes, everywhere. It’s just a dream, of course,” Piccioli said during a preview. The
Alberta Ferretti did not hold back with her Limited Edition demi-couture collection, with bold designs and intricate 3-D embroideries, which belied an underlying simplicity. Indeed, simplicity was a starting point for the designer, who said she was looking to “create a new silhouette with new, important volumes,” with an eye on “personalization and eccentricity” at the same time.
Big bows, sculptural sleeves, capes and draping on beautiful fabrics such as radzmir contrasted with simple silhouettes. Ferretti said the designs reflected “a woman’s strong identity,” which has always fascinated her and she enthused about “a dress that can move, accompany and transform a woman.”
This season, the designer also further elaborated the marine theme she developed for her latest resort lineup, shown in May in Monte Carlo, with fairy-tale lamé embroideries on jacquard gowns that looked like the seabed of an ocean, or delicate chiffon slipdresses embellished with degradé sequins that had a wet effect similar to “drops that fall off the body,” said the designer, reiterating her ongoing fascination with nature.
What Ferretti dubbed an “unexpected color palette” of acid sherbet green or mustard, with touches of vivid red, contrasted with the blues and azures of the sea theme.
Ferretti is also catering to
The technique of origami featured heavily in Yang Fang’s fall 2019 collection for Atelier by Fang, the couture line of the fashion label she established in 2013 upon returning to her hometown of Shanghai after studying fashion at Esmod in Paris.
“Kids nowadays play on iPhones and iPads, but when I was little I used to play with paper,” said the designer, speaking at her first couture presentation in Paris. “My grandmother used to give me sheets of white paper and taught me how to transform them into small animals like frogs and elephants, or stars and flowers. When I arrived at Esmod, I started doing the same thing with fabrics, in order to pay homage to my Asian heritage.”
A stunning black-and-white midi shiftdress was made of hundreds of hand-folded silk organza flowers. At their center were eye-catching Swarovski crystals. The brand was the first Chinese label to be tapped by the jeweler as part of its support program for young designers, and the partnership has been going on for nine seasons.
The collection, which was black-and-white save for a short red dress, was entirely made in the By Fang couture ateliers in Shanghai, with a particular focus on craftsmanship and predominantly
Everyone’s doing it. Green was the color of the haute season, in a range of shades from gentle to bold. At Armani Privé, Giorgio Armani worked a largely pastel palette into a lineup of ethereal gowns, including this pale seafoam trio. His goal: to capture “the impression…of a clear water surface reflecting a ray of moonlight or sunlight.” Mission accomplished, and beautifully so.
Video: Get an Inside Look at the Epic Fendi Couture Show Set Against the Roman Colosseum
August Getty’s gothic, theatrical “Enigma” collection visited a dark, melancholic world of graveyards and masquerade balls. One armor-like minidress was molded from resin like an ornate tombstone, complete with a gargoyle on its shoulder. Another, in black leather, had a pannier skirt and crawled with Swarovski spiders.
“Think of it as a ceramic umbrella,” Getty said when explaining the technique used to create another of the dramatic, sculptural pieces in his fall couture collection, his second. The design in question was a pair of voluminous pants hewn from white silk to look like Pierrot’s ruffled collar and a matching top that covered the arms and torso, enveloping the body.
Providing a contrast from black and white, mint green velvet was worked with a grid-like embroidery of pearls on a mid-length bustier dress, its silhouette exaggerated with a bustle, and was intended to give the effect of oxidized copper. In a darker manifestation of forest green, an allover sequin gown embroidered with ostrich feathers at its hem reproduced a ghost-like cherub’s face come to haunt Getty’s morbid but creative underworld.
The iconic women who populated Capri’s nightlife, such as Veruschka, Brigitte Bardot and Jacqueline Kennedy Onassis, are the muses who inspired Francesco Scognamiglio’s couture collection.
Their elegant, feminine attitude was combined with influences from the Italian island, such as the colors of the sunset, which inspired the pink tone of a tulle dress. The nets of Capri’s fishermen echoed in the sparkling Swarovski crystal net sleeves of a draped minidress with a plunging V-neck, while the rich plaster decorations of Villa Lysis served as inspiration for the precious encrusted embellishment punctuating a wool coat.
Crystal starfishes and pearls gave an intriguing underwater feel to a slipdress, while a suit showing a constructed tulle jacket with a coordinated skirt was worked in a dark nocturnal tone, a nod to Capri’s legendary blue lizard living on the island’s signature Faraglioni rocks.
The cinematic majesty of the Roman Colosseum as seen from the roof of the Temple of Venus and Rome took your breath away. It was one of those remarkable moments many of us in fashion are privileged to experience via our jobs, a moment to register for posterity not only on Instagram, but in the mind and heart.
That Fendi chose to show in Rome at this particular time was all the more special because the city meant so much to Karl Lagerfeld, who famously joined the company 54 years ago at the behest of the five Fendi sisters and stayed until his death in February. He often boasted that during that tenure, he’d visited the Eternal City more than 800 times.
Given that, Thursday night’s show was dedicated to Lagerfeld, but subtly so. Before the show, in a backstage area that was surprisingly functional given that its bones date to antiquity, Silvia Venturini Fendi, who had long coauthored the Fendi collection with Lagerfeld, said the brand had set its sights on a show at the venue some time ago, and that it was just a matter of when. When Lagerfeld died, “we said that the plan had to go [forward] and
Chinos, lederhosen, breeches, flares — they’re not just kinds of pants. They’re among the historical research materials pictured in vintage photos on John Galliano’s Maison Margiela Artisanal mood board, from which he distilled a plan “to explore the trouser and how that could be transformative.”
Yes, Galliano believes in the power of pants (he prefers “trousers”) to transform, not only from one item of clothing into another, but an entire belief system as represented by sartorial selection. But I’m getting ahead of myself.
In the couture collection he showed on Wednesday morning, Galliano offered part three of his exploration of decadence. “Before, we were feeling the excess, and now I’m feeling we’re in decay, reflected by the breakdown of social structure. I’m feeling impulsive and anarchic,” he said in contemplative mode during a preshow visit at the very on-brand headquarters, a bastion of beautifully curated, chic dishabille. He then added a wry rejoinder. “I sound like a teenager, don’t I?”
Not at all. Nor did he sound like a typical designer during a typical preview. Galliano’s fashion speak is often dense. Talk of decadence moving toward decay led him to observe that “so few of us remember how to rely on instinct,” and
Let there be light! That seemed to be the edict from Giorgio Armani, who shunned his signature darkened venues this season to showcase his fall Privé haute couture collection in a sun-drenched gallery at the soaring Petit Palais museum.
It made for a perfect foil to his dazzling outfits, which were covered in enough crystals to give Elsa a case of fashion frostbite. Armani used them by the fistful, as a sparkly dusting on barely there mesh tops, in orderly rows on his signature pagoda-shouldered jackets, and as droplets of light on the sheerest of tulle skirts.
“The impression is that of a clear water surface reflecting a ray of moonlight or sunlight,” his show notes explained.
The designer said the collection, dubbed Armani Code, was inspired by the “folk” style of the late Eighties and early Nineties. At first it was hard to see what he meant, so far removed were his liquid fabrics and iridescent textures from the rootsy appeal of boho chic.
He opened with those razor-sharp jackets in evanescent shades of pink and blue, paired with silver velvet pants overlaid with a whisper of tulle. The first hint of a folkloric touch came in the polka-dot motifs, though Armani homed
Olivier Saillard’s third outing for Moda Povera was like a lesson in life drawing, held in the Amphithéâtre de Morphologie at the Beaux-Arts, with its anatomical statues, chalk-covered blackboards and rough wooden benches.
The staging encouraged his students to stare attentively at the designs to capture their technique, based on Madame Grès’ draping and described by Saillard in an opening “lecture” as “like a form of therapy.”
He changed his medium for fall, shifting from the jersey T-shirts of his first two collections to white men’s cotton shirts in an 8XL size — mainly shipped in from the U.S., offering 17 different manifestations, draped, pleated and manipulated in a variety of ways to create new forms.
Collars, cuffs and sleeves were reshaped, creating new design details — pleating formed a hint of a ruff-like form at the nape of the neck on several designs, while others were pulled into a V-shape and left open in front.
Whorls of pleats created vortexes, pulling the shirts into new shapes, some dress-like, others with backs like capes, all worn over thick black tights and stilettos or espadrilles on Saillard’s three models — Axelle Doué, a former fit model for Madame Grès; Zoé Guedard, Saillard’s assistant, and Ania
Pushing further into experimental territory, Japanese designer Yuima Nakazato revisited the transformable silhouettes he created in seasons past using innovative materials that featured “Brewed Protein,” a sustainable fiber developed by Japanese biotech start-up Spiber using a process not dissimilar to beer manufacturing to create artificial proteins.
Set against a backdrop that included a shower of gold particles suspended in mid-air — a sculpture titled “Goldrain,” by Japanese contemporary art studio The Eugene, meant to nod to the mechanisms that created our planet — he mixed and matched materials, delivering a cohort of pared back shift dresses, color-blocked separates and outerwear with a sporty edge about them.
Visible seams, openings and partially detached panels made good use on the promise of the Type-1 snap closure in delivering adaptable, modifiable-on-the-go garments.
Backstage, the designer reiterated that he wanted to “design a new relationship between humans and clothes,” explaining that this fiber shared properties with human skin and that it could be “not a second skin, but become part of your skin.”
Nakazato further looked to the human body for inspiration, basing his color palette on a range of natural skin tones, from fair to deep. The red touch was the hue of blood, “everyone has the
ARMANI’S FIRST: There’s a first time for everything. Despite the fashion longevity of Kate Moss, the model has never fronted a Giorgio Armani campaign. This is changing with the Italian designer’s fall ads for his namesake brand. Armani has tapped Mert Alas and Marcus Piggott, who have already collaborated with him in the past, to photograph Moss, who sports a new hairdo — a sleek, straight, fringed bob in a very light shade of blonde.
Kate Moss in Giorgio Armani’s fall campaign.
Mert Alas and Marcus Piggott
The photographs are in both black and white and color — emphasizing the collection’s “Rhapsody in Blue” theme, as Armani called it, after the Gershwin song.
The set is minimal, with a focus on the clothes and on Moss, in sync with the designer’s belief expressed earlier this year: “It’s time for elegance again.”
“A first-time interpreter of the Armani style to which her feisty, free-spirited sensual presence is brought to bear, Kate Moss stands out as a woman of singular beauty, whose personality and energy decisively set her apart from the fleeting fads of the moment,” said the company. The campaign will bow next week.
Models Daisuke Ueda and Thijs Stenneberg appear wearing the label’s men’s line. For the
Y’s hasn’t held a fashion show in Tokyo in five years, and this season it came back with a bang, staging back-to-back shows in different venues within the same building. The first featured its Bang On! line of genderless, timeless pieces. Created by a team of designers, the collection centered around 15 different coats in five styles, from thick wool offerings with contrasting rope trailing off of them to military-inspired styles lined in faux fur. The silhouettes were oversize but clean, and the substantial fabrics contrasted with the more fluid pants and shirts worn underneath. Details such as asymmetric hems and long, uncut threads made it clear where the brand’s roots lie.
In a second, larger show, Y’s presented its capsule collection designed using materials from the Italian firm Alcantara, which is owned by Japanese textile giant Toray Industries. Tailored jackets, relaxed-fit trousers and long coats were cut from a gleaming metallic silver material, sueded textiles, and a fabric with a texture that resembled crumpled up paper. But while the materials added interest to the collection, it was how they were used in garments that really brought them to life. Thicker fabrics such as faux leather were used in boxy, structured
Join multi-platinum band Fall Out Boy as they travel back to their hometown of Chicago for a mind-blowing audio-visual extravaganza. Featuring their newest hits Centuries, Irresistible and Uma Thurman, this 17 song concert also includes the band's best loved songs from across their whole career. This special performance is one of the most memorable Fall Out Boy concerts ever, filmed during the Boys of Zummer tour that hit 39 North American cities throughout 2015.
Ty Lue who was LeBron James top choice to take over the vacant head coaching job of the Los Angeles Lakers will not be sitting courtside when next season tips off. According to reports, negotiations between the former Cavaliers head coach and the Lakers fell through.
League sources told ESPN contract negotiations between the Lakers and Lue ended with the parties not reaching an agreement at all.
Lue and his representatives turned down the Lakers’ offer Tuesday, league sources said. The Lakers, then on Wednesday offered Lue a deal in the range of three years and $ 18 million, after which Lue’s side pulled out of negotiations.
According to the sources, Lue’s camp was seeking a five-year deal with a salary commensurate with a championship résumé.
Beyond an inability to agree on contractual terms, the Lakers had proposed several scenarios involving their preferred candidates for assistant coaches, including Jason Kidd, sources said.
Looks like Laker fans will have to wait a little bit longer for the return of the Showtime era. The dysfunction is on ten in the Los Angeles Lakers organization. On top of not being able to secure the deal with Ty Lue, Stephen A. Smith is reporting that people close to Lakers’ president Jeanie Buss are telling her to trade LeBron James.
With Lue out of the picture, ESPN reports the former Orlando Magic coach Frank Vogel and Juwan Howard are currently being considered for the head coaching position. We shall see how this plays out, but this is definitely not what LeBron James signed up for when he joined the Los Angeles Lakers.
Yodel Kid’s absence at Stagecoach this weekend was a huge bummer … but he’s got a fix to cure your blues … ’cause TMZ’s learned he’s gearing up for a massive fall tour!!! 12-year-old Mason Ramsey — the boy who became famous after yodeling at a…
Name: Jenny Fax
Main message: Taiwanese designer Shueh Jen-Fang takes fragments of childhood memories and turns them into avant-garde collections. For her latest offering she put her stamp on an innocent picnic, with sweet, pastel lace dresses paired with candy-striped blouses. True to form, nothing was quite as it seemed, with acid-washed denim skorts that were so low-waisted they put on display the granny panties attached underneath. Plush balloon dresses had boning to create voluminous, sculptural shapes, while tweed tops were shrunken into tiny, frill-adorned bandeaus. The show closed with a vinyl puffer coat with a hood that zipped all the way up to create a cartoon-like character, and a white split cape that billowed behind like a pair of angel wings.
The result: The collection struck just the right chord between the bizarre and charmingly unique, a weirdly fun take on a fairy-tale-like dreamscape.
At first glance, designer Natalie Ratabesi’s latest collection for her line Tre by Natalie Ratabesi was instantly invigorating, the racks in her showroom filled with a bold palette of reds (pinks to maroon) and even fluorescent orange. Ratabesi explained the red hot palette stemmed from the Netflix documentary, “Wild Wild Country,” while inspiration from the Eighties influenced her designs and gold jewelry laden models of her look book.
For fall, Ratabesi explained she wanted to reinforce her strengths. Strong pants — pink denim in lieu of blue, a great new band pant with adjustable Velcro sides on the waistband to wear higher or lower on the hip, and updated combat pants — as well as layering pieces inspired from men’s wear. Tailoring proved strong once again, like a burgundy suit set styled ever so cooly under a standout new cropped little poly padded jacket. Whether it was her colorblocked blouses or sensual, fluid gowns, Ratabesi’s collection continued her strong, and very cool, point of view through refreshing designs.
Name: The Dallas
Main message: Fumie Tanaka’s modern take on classic style elements was foreshadowed by its venue: a French restaurant with mosaic tiled floors, arched doorways and Art Nouveau hanging on the walls. But when the lights went up, the opera changed to thumping bass and the models strutted around corners in looks that showed a deft mix of the traditional and the now. Long, flowing dresses in rich hues and floral prints shared the runway with leopard-print pantsuits with lace overlays, sheer, slinky knits and workwear-inspired jumpsuits. Tanaka expertly mixed print and texture, incorporating plush faux fur, ivory and black checked wool, sky blue chiffon, and metallic lamé. Track pants with lace side stripes and oversize proportions on basic jackets gave classic pieces an air of modern, streetwear cool.
The result: Tanaka turned out a solid, cohesive collection of versatile separates that meld femininity and a relaxed, street-ready sensibility.
Name: Noma T.D.
Main message: Masako Noguchi and Takuma Sasaki have been designing their brand for more than a decade, but their latest collection was the first one they presented at Tokyo Fashion Week. First they showed a short film directed by Rinko Kawauchi with music by Hiroshi Fujiwara. Titled “Harmony,” it showed simple, everyday scenes at a family country house and the surrounding wilderness as winter changes to spring.
Next, a black curtain opened to reveal eight models in relaxed, outdoorsy Noma T.D. looks. A pajama-like set of flannel pants and a shirt in a big, bold check pattern was paired with a black fishing vest for men, while a gray, navy and dark green floral print satin dress peeked out from under a plush wool coat for women. There was also a blue tie-dyed sweatsuit, a shirt embroidered with large flowers, and a quilted black coat with striped satin sleeves in black and deep blue.
The result: The offering, while small, showed a balance between street-ready and outdoorsy pieces, making it well suited for the modern urbanite.
Main message: Yukiko Ode and Hideaki Yoshihara reimagined classic military pieces for fall, rendered in oversize proportions and tech fabrics. Voluminous toggle and shawl-collar coats in Army green and skirts made of swinging fringe shared the runway with structured jersey dresses that were striking in their simplicity. The designers also showed their latest collaboration items: eyewear by Julius Tart Optical, tote bags by Chacoli, wedges by Beautiful Shoes, and puffer jackets, long down coats and rain jackets by The North Face.
Ode and Yoshihara showed their skills with sumptuous outerwear that was both cozy and elegant, as well as beautifully draped dresses and asymmetric knits that came alive with movement. Their textures were equally rich, ranging from corduroy and wool flannel to fur and technical fabrics.
The result: The collection had a clear point of view and beautifully constructed clothes, once again demonstrating why Hyke is one of the strongest brands in Japan at the moment.
Main message: Tapped by Italian manufacturer Saldarini to help promote its Cashmere Flakes line, this season Mitsuru Nishizaki put his spin on the company’s quilted puff outerwear, which is stuffed with cashmere filling rather than goose down. To give the jackets and coats a more urban vibe, he added oversize wool patch pockets or snap-on sleeve covers, or chose unconventional colors such as bright blue or dusty pink, which contrasted with the nearly all-black and navy offering. Nishizaki mixed the outerwear with pieces from his main line, including long floral dresses, tonal checked skirts and track pant-inspired trousers.
The result: While the collection included some unexpected choices and will surely be well received by consumers, it lacked the “wow” factor that viewers hope to see during fashion week.
Main message: Shiho Shiroma lucked out with unseasonably balmy weather for her outdoor fashion show, held right in the center of Shibuya, Tokyo’s most buzzing neighborhood. It was also a wise choice for a venue, as her clothes looked right at home in one of Japan’s fashion centers — although the logo-covered backdrop left much to be desired. She showed basics with a twist, mixed with less conventional pieces. Simple shift dresses were made interesting with structural belts and one-shoulder harnesses, some trimmed in frills. While overall the neutral-toned collection had a modern feminine feel, there were also ample military and athletic influences. Wide-leg olive pants and khaki trousers had snaps all down the outer leg, allowing them to be opened up so they billowed with movement, wool arm covers were reminiscent of skaters’ elbow guards, and bomber jackets were turned out in navy and mustard lace or cropped in burgundy satin with balloon sleeves. Ankle-length sweatshirt hoodies were splashed with botanical patterned embroidery and sequins, and cotton twill tanks, dresses and trenchcoats had overlays on one half of a gossamer-thin, sheer tech fabric.
The result: Just the right amount of asymmetry, mixed influences and contrasting textures made for an
Main message: Takayuki Chino has been heading his own brands for over a decade, but as one of the winners of the 2019 Tokyo Fashion Award, he staged a runway show for the first time this season. With it, he showed his audience just why Cinoh has reached levels of popularity that many Tokyo brands can only hope for, being carried by top retailers across Japan.
The designer showed a relaxed, slightly disheveled sophistication. A leopard print, plush fleece pantsuit and long, fringed straight skirts for women shared the runway with men’s suits that were reimagined with pullovers in the place of button-front jackets. Long satin dresses, pleather overalls, fuzzy knits and easy fit trousers were given a subtle injection of Nineties grunge when paired with oversize plaid jackets and shirts. The theme was also hinted at in the show’s soundtrack, which included an instrumental backing track of Nirvana’s 1991 hit “Smells Like Teen Spirit.”
The result: With equal parts elegance and comfort, it was a collection that will surely resonate with Tokyo’s fashion-forward youth, without alienating older consumers.
Name: Nobuyuki Matsui
Main message: The first clue that Nobuyuki Matsui’s first Tokyo Fashion Week outing was going to be something unusual was the invitation: a small cardboard box holding a single air pillow, on which details of the show were printed. When audience members arrived, they were asked to step over the back of long benches in order to reach their seats. The long, narrow runway was strewn with air packaging, some filled with goose down, which popped under the models’ feet, adding a strange kind of percussion to the soundtrack.
Some of the clothes also incorporated the pillow-like pouches, which were tied with strings to coats or stuffed inside a tan leather vest that was cut to look like another form of packaging material. But the concept didn’t run through the entire collection, and some looks of simple pants and shirts felt bland and unimaginative. More interesting was Matsui’s modern take on tailoring, which included pullover vests and suits with exposed stitching, contrast fabrics, and trousers that were either cropped or cinched with belts at the ankle.
The result: The collection showed ingenuity and a fresh take on some men’s wear staples, but it was inconsistent and would have benefited from
Main message: One of the six winners of the 2019 Tokyo Fashion Award, Yuya Nakata’s fledgling brand (established only two years ago) aims to make “timeless modern wear with the best materials and details.” For the brand’s first collection shown on the runway, it did just that. The silhouettes were classic and refined, including different cuts of long coats, tailored trousers and calf-length dresses. And while they were beautifully cut to move with the body, it was the fabrics that set them apart from simple basics. Wool blends in sky blue and red, ribbed knits in the perfect shade of medium gray, a fine, bone-colored twill, and a trio of cloths all in dusty pink all begged a second look.
The result: A newcomer on the Tokyo fashion scene, Nakata proved himself as one to watch with a collection that went beyond elegant to something new and undeniably modern.
Main message: Always one of the bright spots during Tokyo Fashion Week, Takeshi Osumi and Yuichi Yoshii’s men’s brand mixed easy tailoring with streetwear, outdoor and women’s wear influences for fall. Models walked the grass-like carpeted runway in retro, relaxed snakeskin print suits paired with satin double-breasted shirts and neckerchiefs, or velvet pants with roomy overcoats. The more casual looks included dad jeans, hooded sweatshirts and duck canvas jackets, all in neutral shades of gray, brown, khaki and black, interspersed with pops of purple, green and orange.
Osumi and Yoshii played with proportions, shrinking trenches and puffer jackets into crop tops and styling them over wool coats and loose sweaters. Moto, letterman and toggle jackets were chopped up into bib-like pieces and layered over outerwear, while a series of coats and jackets were cut from two contrasting fabrics: olive corduroy and gray wool flannel, or plush fleece with the same snake print from earlier pieces. Subtle feminine touches came in the form of silk scarves worn as belts over coats, and a handful of equestrian print jackets and shifts. The brand also debuted its latest collaboration products, including quilted bags made with Outdoor Products and a black satin bomber designed
Name: The Reracs
Main message: With her inaugural show during Tokyo Fashion Week, Naomi Kurahashi displayed just how to present classic pieces on a runway without boring the audience: make sure to have plenty of variety, use beautiful textiles, keep the pace quick, and employ inventive styling choices. The brand lived up to its profile, which says that it’s “backed by quality and practicality,” but proved that it has so much more to offer.
The collection was made up of variations on a pretty basic theme: straight-legged or relaxed, jogger-style trousers paired with V-neck sweaters or just about any kind of outerwear imaginable, all turned out in neutral tones of gray, black, navy, white and beige. But the superior construction and luxurious textiles elevated the collection beyond simple classics, with suiting material showing a drape resembling that of matte jersey, and a black pleather poncho turning more heads than it would have if it had been made from animal skin. The fabrics were so beautiful on their own that there was no need for flashy prints, but occasional flashes of Fair Isle, argyle or checked patterns kept things interesting.
The result: Kurahashi has been designing The Reracs for nearly a decade, but proved
Main message: What do you get when you mix sharp tailoring and a wide range of textures with subtle bondage influences? Keisuke Yoshida’s latest offering, which was shown on a slick red runway with stairs in the center and models all with bandaged heads. A short suit with an oversize, double-breasted jacket was worn over pleather leggings punctuated with cutouts and buckles, while slinky dresses in headline printed mesh or lamé jersey were gathered all over for a balance of sexy and conservative.
There were structural elements as well, with tails of coats clipped to the backs of collars to create a vague origami effect, and sleeves that were either ballooned and extra long or topped with boned shoulder plates rivaling a football player’s padding. High-wasted pants with rows of rope fastened with toggles were paired with satin blouses trimmed in exaggerated Western-inspired yokes.
The result: Yoshida’s collection was just fantastical enough to find itself at home on the streets of Tokyo, without taking itself too seriously.
Main message: For her second outing during Tokyo Fashion Week, Mari Odaka took inspiration from Tokyo’s changing landscape ahead of the 2020 Olympics, as well as from two films: Andrew Niccol’s 1997 “Gattaca” and Jim Jarmusch’s 2013 “Only Lovers Left Alive.”
Odaka created her own surreal landscape on the runway with large squares of gold Mylar illuminated by fluorescent tube lights, accompanied by a soundtrack of jarring noise. She deftly mixed contrasting textures, showing pleated chiffon trousers together with an unevenly knit scarf that resembled static on a TV, but in red and navy. A shimmering, open knit long skirt resembling a spider web glistening in the morning sun was paired with a cold shoulder black sweater with spots of ivory fringe. There were also pantsuits with relaxed, slit-ankle trousers in black on black floral brocade or pale gray suiting trimmed with tiny ruffles. An oversize grandpa sweater worn as a minidress and a red and black tracksuit with chevron detailing lent a retro vibe.
The result: The designer proved her fledgling brand to be one to watch with a strong collection of relaxed yet elegant pieces in interesting textures.
Main message: Takeshi Kitazawa’s spring presentation was part runway show, part performance art, with models emerging on the runway in pairs before engaging in various interactions in front of a simple set: drinking a cup of water, swapping jackets, cutting open a feather pillow, or one presenting the other with a piece of paper on which was written “do something boring.” All this took place to a voiceover soundtrack of men describing their dreams, but the significance of it all was not immediately clear.
Kitazawa sent out tailored or wide-leg trousers with high waists together with tiny cropped tops and jackets. There were shirts with sheer chest panels, bandage tube tops, tailored coats, a leather biker jacket and trench, and suit jackets with key fobs safety pinned to them. Many looks were pantless, instead including only a pair of briefs or a bodysuit. As with most of Dressedundressed’s collections, everything was unisex and in neutral shades of black, white and beige. Half of the models wore black masks with silver eyelets to see through, which together with belts worn on wrists, gave the offering slight BDSM undertones.
The result: The clothes were well cut and there was some interesting proportion play, but the collection
“Everything’s wickable, breathable…we spent four years developing fabrics,” Tory Burch explained during a walk-through of her latest collection for her high-performance sportswear brand, Tory Sport. Burch added that through her recent collaboration with Soul Cycle (a seven-piece capsule which launched on March 6) she was most excited about hearing feedback from real athletes — from full marathon runners to yogis — who have been surprised and highly impressed by its functionality. A fall favorite (and best-selling) call out included a chevron printed legging and matching bra in oatmeal brown (which sits in the collection under Burch’s new neutral program). Said leggings and bras could be piled under her continually wonderful knits or great new outerwear (a puffed, sleeping bag coat or half-quilted, half-sherpa fleece jacket).
For fall, Burch infused a study of contrasts throughout: watercolor-inspired tie dye versus clean, bright color blocking (in red, purple, navy, royal blue) and chevron graphics when it came to palette and prints, or lightweight nylon ripstop running jackets versus chunky, puffed down coats when it came to outerwear. Within the golf and tennis categories, a new white hybrid skort with a ruffled side perfectly depicted the brand’s overall contrasting play on sporty femininity.
A former fashion director for Japanese concept store United Arrows, Keiko Onose has chosen to eschew seasonal inspirations for the collections she creates for Cyclas, the ready-to-wear brand she founded in 2016.
“Gerhard Richter’s paintings are a continuous inspiration for me,” the designer said backstage about the German artist’s “Abstract Paintings” series, which were already a starting point for last season’s collection. Hints of his work were found on a printed coatdress worn over trousers: “It’s a flower print, but I tried to make it look destroyed, like it’s been crashed or hammered,” Onose said.
Other than the printed silhouette, the color palette for the fall 2019 show — the brand’s first on the official calendar — was a muted mix of khaki, light sage, beige and gray, with bright accents delivered by kooky sequined flats. The clashes came in the form of contrasting textures: an ivory pleated organza apron was tied over crisp cotton trousers, a lamé skirt was paired with a knitted top, and chubby faux fur coats were worn over high-waisted corduroy trousers.
It was quite a cerebral collection: minute details, such as hand stitches replacing traditional seams on a voluminous cream top, were only visible up close — on
Toni Maticevski upped the focus on tech fabrics, “And seeing how they translate into things that are wearable.”
The attitude stayed dressy, though. Gathered into architectural folds, a gold and silver foil jersey used on gowns was surprisingly light and soft, with foil effects also surfacing on a black wool-cashmere coat. A capsule of black-and-white chiffon evening pieces peppered with high-tech flocking in animal-meets-floral motifs were striking.
The designer broke the mood with a romantic section of dresses, including a long ivory tulle gown with a pleated top and short pale pink skirt embroidered in organic strips of metallics and sequins which lent an artisanal charm.
The pièce de résistance in the handiwork intensive collection was a floor-sweeping pastel gown covered in circular tea-stained ruffles.
One of the key themes from the Black line was transparency, with signature gabardine coats flipped inside out to put their inner workings on display, the seams exposed, as well as reversible pieces, with a split-personality coat with beige linen on one side, black silk on the other.
A uniform storyline included coats mixing houndstooth with a monochrome Y’s tartan, lovely black blazers with cutouts of jewel-tone motifs lifted from Persian carpets used to evoke medals, and a series of pinstripe coats with the stripes bleached into the fabric, as well as bleached color-blocking effects.
The Pink line offered a capsule of textured knits, including a seamless cashmere sweater; feminized spins on men’s shirting fabrics, applying details like lace and ruffles to gingham and striped styles, as well as a capsule of sweatshirts playing on the band T-shirt graphics used for Prince and the Revolution’s Purple Rain Tour in the mid-Eighties.
“It’s kind of funny when you think about seasons anymore because what’s winter for someone is summer for another,” described Galvan’s Katherine Holmgren. ”There’s always so much travel in-between different locations and climates and temperatures.” Having an international customer who shops in varying climates, the team from Galvan looked to their creative director, Sola Harrison’s, recent trip to Bali to infuse a wintery jungle theme into their fall lineup. Lush green leafy hues ran throughout — simply sophisticated in floor-length slips or more daring in an emerald green sequined blazer with fringed details. Acid green also made an appearance in scuba-like materials, like a bustier minidress, mixing the surfer, beachy vibes and jungle landscapes of Ubud and Uluwatu.
“We’re always trying to make eveningwear — glamorous, yes — but with a dash of fun and youth…and a cool factor that’s often missing,” Holmgren described. The brand continues to do so — fall meant updated sequined — as well as velvet devore-offerings (in a great leafy print). A special edition hand-placed tiger printed velvet devoré shirtdress and slinky “Bali” scarf printed — found during Harrison’s travels — gowns made for great additions to round out the collection of multiple-climate appropriate attire.
While he showcased his latest fall collection to buyers according to the traditional schedule, Antonio Berardi skipped any classic shows or presentations during fashion week this season. His beautiful collection was actually revealed to journalists with one-on-one appointments in his Milan showroom and via a range of images portraying fashion icon Catherine Baba.
“The idea that the collection starts in my world is given over to someone else, who makes it fit in her world, and the eventually of it becoming part of someone else’s universe on a totally different level is perhaps the most exciting thing of all,” Berardi said on Baba’s interpretation of her clothes.
Her bold personality actually exalted the already distinctive spirit of the collection — which, designed to complement the pre-fall range, was more focused on cocktail and evening attire.
Continuing to offer his own take on his inspiration from the year 1968 — already the theme of pre-fall — Berardi played with the sharp and the precise mixed with the soft and bohemian. A white minidress with scalloped edges and flared sleeves exuded the same feminine allure as another short dress, worked in overblown checks, showing exaggerated ruffles.
Lengths got longer in a hot pink gown revealing precise vertical
A Seventies-style faun-colored intarsia coat figured among the rich range of shearlings, as the brand continues to steer the focus away from fur, also mixing textures on coats, contrasting shaved and fluffy surfaces and playing with prints, including a leopard motif, to broaden the category’s appeal.
Brought in to design the second edition of the brand’s Pieces capsule of six upcycled furs was André Walker who got creative with mink scraps. Items included a black mink jumpsuit masquerading as corduroy, a cream shirt in sheared mink, and a showstopper fringed sheared-mink intarsia dress with a face print based on one of Walker’s artworks. Sporting labels signed by Walker, the pieces will be produced in limited-edition series.
Amsterdam-based Moroccan designer Karim Adduchi’s mission in Paris was to present a line of more commercial ready-to-wear looks, ranging from jacquard coats in a woodland print to a tailored blazer with details including 3-D buttons with a design inspired by berbère culture and belt loops at the waist.
But his couture pieces grabbed all the attention, especially the twists on traditional Moroccan garb, like a top and skirt honed from finishings sourced from every city that the designer has visited in his homeland, including colored tassels in earthy hues that formed the skirt.
Also drawing the eye was a red silk scarf dress and a long gown with a split made from an artisanal striped wool with raw seams.
One of the key themes from the Black line was transparency, with signature gabardine coats flipped inside out to put their inner workings on display, the seams exposed, as well as reversible pieces, with a split-personality coat with beige linen on one side, black silk on the other.
A uniform storyline included coats mixing houndstooth with a monochrome Y’s tartan, lovely black blazers with cutouts of jewel-tone motifs lifted from Persian carpets used to evoke medals, and a series of pinstripe coats with the stripes bleached into the fabric, as well as bleached color-blocking effects.
The Pink line offered a capsule of textured knits, including a seamless cashmere sweater; feminized spins on men’s shirting fabrics, applying details like lace and ruffles to gingham and striped styles, as well as a capsule of sweatshirts playing on the band T-shirt graphics used for Prince and the Revolution’s Purple Rain Tour in the mid-Eighties.
Having cycled through a number of formats and creative directors in the last few years, Capucci is banking on an injection of youth to restore the brand to the glory days of its founder, Roberto Capucci.
The label’s owner, businesswoman and art patron, Paola Santarelli, has appointed her daughter, Vittoria Bonifati, as artistic coordinator, with Valeria Giampietro as art director. They, in turn, have drafted Luisa Orsini and Antonine Peduzzi, the “It” girls behind the handbag label TL-180, to refresh the brand.
Staging a presentation in Paris for the first time, Capucci unveiled a capsule collection based on the more wearable portions of its archive. The couturier, now 88, has been a friend of the Santarellis for decades.
“He was very close with my grandmother and my mother. My mom’s wedding dress was designed by him, and also my grandmother had a lot of clothes designed by him, so I’ve known him for quite a bit, and he comes still to the atelier. He has some clients and makes haute couture,” Bonifati said.
A tunic top and cropped flared pants featured subtle black-and-white Op Art stripes that were stitched together from dozens of fine strips of fabric. A collarless coat with a scalloped edge
Katie Hillier and Luella Bartley cast their eyes to the Eighties, and to the pop colors and patterns of Kansai Yamamoto. Their collection was wild, full of color and languid proportions in the form of a check Zoot suit, its jacket slashed open at the front, and a camel pinstripe suit with a short jacket and roomy, tracksuit-style trousers. Blouses and dresses were draped, folded, knotted or tied, as in a silk raspberry dress with statement sleeves and piratical flair, and a black tuxedo jacket with a cascade of jewel-toned, fringed silk spilling from the back. The collection had its New Romantic moments, too, in the form of a white poet’s blouse with wide ruffles around the neck and wrists, and cotton striped shirts with layered sleeves and long flowing tails. These clothes, with their dramatic proportions and look-at-me colors, aren’t for everyone: Only the cool kids need apply.
For fall, An Vandevorst and Filip Arickx had a country girl in mind — low profile but feminine, used to roaming the outdoors. Not one to put up with vestimentary restrictions. So they cut open the sleeves of her suit coat, lining them with zippers in case she wanted to close them back again. Shirt sleeves, too, were opened in this way, but with buttons. There was no planned color scheme — fabrics were chosen for their qualities, and then crafted into garments, making it more spontaneous and perhaps less intellectual, explained Vandevorst. Loose, tan trousers had a sporty, orange ribbon running up the leg while a silky purple shirt had piping details on the cuff, western style and one shoulder. Also in the lineup, season staples: a long, pleated skirt and smart outerwear, including trenchcoats.
Reflecting the label’s new emphasis on accessories, the showroom presentation was dominated by boots, sneakers and handbags galore — all shapes and sizes. Bags were mostly square-shaped, stamped with the label’s signature cross. Footwear options included a chunky-heeled ankle boot with zebra stripes on the front and lizard skin on the back — suitable, no doubt, for that country girl hitting the city streets.
The message would have to come from the garments; due to a scheduling conflict, Susana Clayton wasn’t in Paris to present her debut collection for Joseph.
They spoke for themselves. Clayton had clearly done her homework and crafted a sturdy lineup that relayed the label’s particular breed of chic, British cool. A laser focus on trousers turned up an array of surefire staples — flattering waists, luxurious fabrics, slightly flared. Knitwear was chunky and oversize, yet sleek, including a handsome cape-shawl topped with a turtleneck, as well as the widest scarf ever — with yarn fringes. Moving down the rack, each piece, it seemed, called for individual consideration — the simplicity conveyed by a new, streamlined approach. Tailoring was sharp, but also purified, and Clayton skimmed the collars off of some pieces, including the coats. Leather work was another strong point, and the collection included well-cut burgundy trousers and a tunic dress. Also striking was a black, goat hair coat.
This was a strong debut, and a well-managed segue from the previous designer, Louise Trotter, who has moved to Lacoste. Relaying the label’s past strength — trousers! — Clayton also managed to spin it forward nicely.
For his fall lineup, Esteban Cortázar had different types of women in mind. He doesn’t like it when people ask who his client is — an exercise he likens to putting someone in a box.
“I don’t just appeal to one kind of girl,” he said, noting the same garment draws different personalities — and ways of wearing it.
That point he drove home with a diverse collection, toggling between sensual elegance and a funky cool, all of it emphatic, which is one of the reasons it worked.
Considering “Breakfast at Tiffany’s” — influence for sharp and simple lines with graceful silhouettes — he took Holly Golightly for a spin in the Caribbean. This brought added flourish — a bit more skin and lots more color, mostly solids — yellows and pinks — but also a crazy print with religious motifs and a wild cat.
One of his muses was a friend, the stylist Michelle Elie, who modeled the looks.
“She’s not afraid of piling it up, being more eccentric, playing with silhouettes, with proportions,” he said, pointing to a photo of her with layers that included six bucket hats in bright colors, hot pink gloves over a sheer, pink sleeve, and knit leggings under a
Life bubbled under the all-black exterior of Kei Ninomiya’s silhouettes. The designer, who learned his craft at Comme des Garçons, themed his collection around roses, which were sported by models on blood-red headpieces created by artist Makoto Azuma, infusing the silhouettes with an organic feel.
The first looks, rigid structures made of ruched taffeta taking over the models’ bodies, hinted at alveoli, while an overskirt with dangling black taffeta threads, worn over a nude tulle skirt, looked like spider’s legs.
Further along, classic pieces like leather biker jackets morphed into different creatures entirely: on one look, a jacket was progressively weaved in to what looked like a round wicker cage, a gleaming leather contraption encasing the entire lower part of the model’s body. The same structure was thrillingly applied to the top of a dress, cradling the model’s torso up to her neck.
There was a strong sense of protection: organza tops had thick wraparound corsets bunching up the waist, while some silhouettes sported leather harnesses with what looked like blown-up tubes coming out to form full skirts. The silhouettes got bigger as the collection progressed, leaving the all-black look for touches of flesh pink and bruised purple: models’ heads peeped out from
Alienation is the common thread that runs through Léa Dickely and Hung La’s collections with their acerbic, uncompromising esthetic. Staging their first runway presentation this season in a cavernous garage space, they played on the convention of dressing to blend in — inspired by manuals offering advice for Stasi agents on how to go incognito — spiked with jarring moments of look-at-me bravado.
Beige and brown tailoring provided the uniform backdrop in the form of voluminous trench coats, tailored jackets, wide flared pants and baggy masculine shirting with pointy Seventies collars, the concept of status knocked home by styling the looks with Louboutin stilettos.
Dickely and La played on the notion of what is real and what is fake, using leather and rubber interchangeably and challenging the observer to identify which is which on coats, pants and dresses.
Their nonconformism emerged through violent pops of color — bright red, vivid yellow — the latter worked for example as a zebra print or a psychedelic motif on a fitted shirt that once again harked back to the Seventies, an era of predilection for the designers.
Heritage can be stifling. How far can Leonard’s signature printed silk motifs actually go? Since her nomination as creative director of the house in March 2016, Christine Phung has been striving to take the brand’s identity to new heights. Sometimes her modern take works; at others it feels constrained.
The fall 2019 collection was the latter. Themed around a plane trip to Jaipur, India, the show was accessed thanks to boarding passes. Silk eye masks were laid out on seats, while on the runway models rolled Tumi suitcases, held printed neck pillows and one even wore a safety jacket. These were fun gimmicks, but they couldn’t distract from the busy prints that were splashed over total looks: in dominant tones of pink, orange, blue and purple, long silk dresses, fluid jackets, shirts, short kimonos and caftans were covered in garish orchid motifs. Most silhouettes were barely more than holiday dresses for heiresses; others looked like stewardesses from a particularly flashy airline company.
Gold lamé touches on the three black silhouettes were more convincing, taking the prints straight to evening wear. Phung played with nuances: printed silk details were ingeniously placed around wrists and belt linings on wool coats and pinstriped suits, while
Virgil Abloh had a tongue-in-cheek message for those who think his Off-White brand is a license to print money: the invitation for his fall show was a clear plastic envelope filled with fake bills. Some included the soon-to-be-scrapped 500-euro note.
Though the streetwear label slipped from the number-one spot on global fashion search platform Lyst’s latest quarterly index of fashion’s most desirable brands and products — to a still-impressive number two behind Gucci — its “if you make it, they will buy it” aura appears intact.
In fact, Abloh seems so confident in the brand’s momentum that he now barely includes its signature markers — ironic quotation marks, diagonal stripes and industrial-themed belts — in his runway shows. Instead, he uses the stage as a platform to expound on his brand values.
“There’s an empowered woman, a young woman, that I’m enjoying not treating as a passing trend,” he said in a preview. After collaborating with Nike last season on a track-and-field-themed show, this time he delved into motor racing, inspired by the Rockford Speedway, a Nascar race track near his home town of Rockford, Ill.
“I’m not into sport, because we’ve kind of exhausted that idea, but I’m into male-dominated niche culture,” he
DESIGNERS AND AGENTS
DESIGNERS AND OWNERS: Husband-and-wife duo Caterina Serena and Gianfilippo Gherardi.
BACKSTORY: The two partners launched AVN five years ago in Bologna, Italy. Everything is made in Italy and the idea behind the brand is streetwear, that’s cool for young people. Gherardi’s family has been in the fashion business for 40 years with the brands Ter et Bantine and Hache, designed by Gherardi’s mother, Manuela Arcari. During their summer vacation at their St. Barts villa, called Avalon, they decided to come up with a new brand. AVN is an acronym for Avalon.
KEY PIECES: The pink puffy coat, used scarves featured on tops and pants, and several patchwork looks.
WHOLESALE PRICES: Prices range from $ 200 for pants and skirts up to $ 400 for the puffer coat.
DESIGNER AND AGENTS
BRAND: Hansel from Basel
DESIGNER and OWNER: Hannah Byun
BACKSTORY: “I grew up loving ‘The Sound of Music,’ and I always called myself Hansel from Basel. I like things that are charming and quirky,” she said. She started the business in 2007 with women’s legwear and added kids and men’s wear. Her father had a sock factory in California and she grew up around sock machines. “I loved to see how they were made. Eventually he
Fatboy SSE has become one of the many social media stars who’s decided to parlay his online fame into a music career and while it hasn’t exactly proved fruitful, it’s still a dream worth pursuing.
Today the social media comedian links up with YFN Lucci for in the visuals for “12 Days” where the two flaunt all kinds of cash, ice, and big boy Benz’s. We hope they ain’t borrow them whips from Tyga cause if so it’s likely to get repo’d at any second.
ILoveMakonnen meanwhile pays tribute to his man Lil Peep (RIP) and for the Fall Out Boy assisted clip to “I’ve Been Waiting” hits up the beach to walk a dog on the boardwalk before he hops on some rides to enjoy life.
Check out the rest of today’s drops including work from Bas, Rod Wave, and more.
FATBOY SSE FT. YFN LUCCI – “12 DAYS”
LIL PEEP & ILOVEMAKONNEN FT. FALL OUT BOY – “I’VE BEEN WAITING”
BAS – “PURGE”
ROD WAVE – “RED LIGHT”
LUH SOLDIER – “WHAT HAPPENED”
DIGGIS FT. THIRSTIN HOWL THE 3RD – “SKILLIN SOUND”
ROME STREETZ & FUTUREWAVE – “FORTUNE FAVORS THE BOLD”
Dries Van Noten’s subject was roses — reconsidered. That the designer has a lush garden is almost as well-known as his affinity for statement prints, which have drawn from myriad inspirations over the years. For fall, he stayed close to home — make that at home — in conjuring his seasonal motif. On a Saturday afternoon in October, he and members of his team strolled his garden with a photographer, taking pictures of the various blooms against a solid background board. They sought out not the most perfect of nature’s bounty, but flowers that would best represent the human condition, those with obvious flaws.
The goal, Van Noten said post show, was to create a floral motif that was “strange and interesting” but also alluring to customers. “To make it strange and interesting is really easy, but [it must] also have the desirability,” because in the end, women must want to wear the clothes.
Consider it done, in a collection that worked a strong, unfussy beauty. Van Noten started by extracting the more mundane associations from his equation, the romance and banal prettiness so often associated with fashion flora. In their place, he sought the graphic realism of the flowers’ imperfections —
For the brand’s first runway presentation and his first full collection as creative director, Nikola Vasari succeeded in bringing together with casual ease streetwear influences with grunge and glam references inspired by music icons such as Courtney Love, Grace Jones and Lou Reed.
The lineup was a further step in a more focused direction for the edgy label, a balance of tailoring, flou and streetwear with an edge. There was some standout outerwear — a ruched jacket in green jacquard that Vasari described as a “party bomber” was among the most striking pieces.
Animal-print motifs were key to the glam vernacular, as on a zebra-print minidress in a holographic metallic fabric or bright prints in purple, red and black on some of the later flamboyant looks, while grunge references were seen in the form of distressed knitwear or the embroidered chains that adorned several designs.
Elsewhere, a hand-painted and fur-trimmed parka was pure Faith Connexion. Other outsized outerwear pieces were paired with racy looks, as in a dress made up of strips of lace like bandages across the body.
Dominated by a largely monochrome palette, the collection offered further pops of color in the form of a green sequined shift dress or the multicolored
Albino Teodoro’s fall mood board had heraldic drawings from a Thirties linotype, the late designers Cristóbal Balenciaga and Gianfranco Ferré, and Fifties magazine covers designed by Roman Cieślewicz.
The hodgepodge of references yielded a charming collection that played around uniforms with a feminine touch, mostly pantsuits and coats. A double-breasted cashmere topper with structured shoulders and a column-like silhouette featured stitched piping and engraved metallic buttons with a military feel. Sleek suits were crafted from wool crepe in bright tones, such as magenta and aquamarine.
“There’s always a feminine touch I want to inject,” Teodoro said. To wit: a billowing collar added softness to a severe top made of black Vatican canvas, and ruffled sleeves added a dash of glamour to an elongated blazer.
For evening, the heraldic wallpaper prints appeared on a shirtdress and slouchy overcoat combo, which looked chic.
Presented under neon cloud shapes, Arthur Arbesser’s second collection for Fay, the Italian outerwear specialist owned by Tod’s group, was based around the idea of a timeless wardrobe. “I want to make sure it’s a brand that both my father and my nephew would want to wear,” explained the 36-year-old, who also designs for his own brand.
Looks from this coed collection were playfully layered. On women’s silhouettes, short leather gilets in rich bordeaux and cream were worn over coats in contrasting hues, transforming a classic wool peacoat into a statement piece. “The gilet becomes almost like an accessory,” Arbesser said. “There is this idea that you can easily spice up an item, while at the same time keeping it classic and functional.”
The collection felt current, which is partly due to its theme: Arbesser took inspiration from the symbol of the cloud in both the meteorological and digital sense, looking at our modern obsession with data storage. The designer swapped nylon for caramel leather on the brand’s signature “4 Ganci” jacket, recognizable thanks to its four hook fastenings, and added a hood, making it instantly more relaxed. Another version in pristine white vinyl looked fresh and modern.
Raincoats and short jackets, worn
This collection, in 50 shades of neutrals, might just win the prize for most comforting collection of Milan Fashion Week. Simon Holloway, Agnona’s artistic director, may have been going for grunge, but what he served up was so much better.
There were textured coats, some long and lean, others in bathrobe styles, wide-leg trouser suits with elongated jackets in chocolate, cream, taupe or olive, and turtlenecks roomy enough to accommodate two small people.
Ribbed scarves skimmed the floor, opaque knitwear fluttered and models wore beanies. Even the footwear was a comfort, cream combat boots or slip-on sandals and socks in stone, gray or mud.
Holloway said he was thinking about the moment he left university in the early Nineties, and that eye-opening grunge aesthetic, “but I wanted to do it in a super-elevated way.”
He certainly didn’t disappoint, enveloping his models in double-face cashmere, tweed jersey, flannel, leather and quilting right down to the shirts and underpinnings — manna for the Agnona customer who’ll want to wrap themselves up, kick back and hum a few strains of “Come as You Are.”
The coat, of course, is the first thing coming to people’s minds when they think about Max Mara. The brand’s iconic piece was celebrated with the Max Mara Atelier fall collection, 14 outerwear shapes injected with impeccable elegance.
Realized with couture-like constructions and luxurious materials, the collection took inspiration from the neo-expressionist artworks of Mimmo Paladino. Gold linings and details were hidden inside the pieces for an extra touch of exclusivity.
Looks telegraphed a discreet femininity influenced by a mannish sensibility, worked in a restrained color palette of black, gray-beige, rust, blue and orange. Styles included a covetable double-breasted model showing pleats on the side creating a charming 3D volume, a “foulard” design to softly wrap around the body, as well as a trench-like number cut slimmer through the bodice and then showing a slightly flared silhouette enhanced by an obi belt.
A urban attitude was introduced via a zippered cashmere bomber, the front crafted from mink fur, while the mohair cardigan-coat oozed luxurious ease.
Everyone was a winner at Moschino Thursday night when creative director Jeremy Scott created his own “Price Is Right”-style game show as a backdrop for his fall collection, complete with shiny new car, washer-dryer, bedroom set, refrigerator and more.
“It’s hard not to be a fan of game shows growing up in America,” Scott said backstage. “You see glamorous girls in glamorous outfits and it’s all about the luck of chance. It’s a very American idea that you can turn your life around, go from rags to riches with that lottery ticket or by selling that screenplay. There is something about it that captures the imagination.”
Students of Scott may remember that this is not the pop provocateur’s first entrance into game-show territory. In 2001, “Wheel of Fortune” (the real one on TV) invited Scott to make over Vanna White, back when he was still an up-and-comer on the L.A. scene and not atop a European luxury brand. For five shows, she wore Scott-designed outfits while turning the tiles, including a dress printed with dollar bills bearing the designer’s face. WWD documented the whole thing, giving him his first cover.
Storyteller Scott returned to the well on Thursday, and he went all-in this
French Instagram sensation Maeva Marshall, her face studded with freckles, was the first model to walk down the runway for Chinese designer Anna Yang’s fall 2019 show, titled “Embrace Imperfection.” Another bore a light brown birthmark on the side of his face.
“The public and the media are very into classically pretty faces at the moment, but most of them have had plastic surgery,” the designer said backstage. “I wanted all the other girls to gain confidence and show the world that they are just as beautiful.”
The collection definitely had a triumphant feel. Pops of orange, pink, lilac and red were barely outshone by full glitter looks, such as a gold lamé shirt and pencil skirt combo, or metallic boots. Fuzzy coats and clutch bags were all made out of eco fur, a first for the brand.
There was animal print galore: a zebra motif zig-zagged down an oversize coat and leotard with exaggerated shoulders, while a flowing trenchcoat and a midiskirt were covered in cheetah spots. These accents were chosen by the designer to show that marks on skin, as on fur, are wholly part of nature.
A few pieces sported direct references to the collection’s theme — a faded leotard printed
Setting aside the ironic, playful graphics, which characterized their early efforts, Diego Marquez and Mirko Fontana embraced a more urban, glamorous aesthetic.
“The irony is still there but is expressed in a different way,” said Marquez, referring in particular to the intentionally wrong proportions characterizing some of the pieces. For example, a pair of jeans showed an exaggerated high waist and a T-shirt had oversize, boxy shoulders.
A playful touch was introduced via fox fur coats worked in neon colors, also appearing on the threads giving an eye-catching touch to cable knit sweaters and minidresses, while a range of frocks, which seemed designed for young disco queens, featured precious crystal embroideries and cascades of degrade sequins.
Even if the designers’ intention to step out of their comfort zone is definitely remarkable, this collection, which missed a certain cohesiveness and probably the so-called X factor, demonstrated that Au Jour Le Jour still needs to find clear aesthetic codes to fully develop its repositioning strategy.
Emilia Wickstead immersed herself in “The Godfather” trilogy, enchanted by the quintessentially Southern Italian charm and refinement that defined Francis Ford Coppola’s film series.
For her latest fall presentation, she took over the Art Deco restaurant Le Caprice, hosting an intimate salon-style show and transporting her guests back to this nostalgic universe, complete with classic Italian music, head scarves, pearls and lavish fabrics galore.
The character of Mary Corleone — played by Sofia Coppola in the film — and her signature berets were at the center of the story line dreamed up by Wickstead.
The designer also drew from the men’s wear codes on-screen, delivering tailored jumpsuits and mannish coats in a traditional palette of chocolate brown, or draping leather over a suit — a reference to the movies’ distinct gangster vibe and abundance of leather jackets.
Wickstead ensured that she translated this old-school charm to her own universe of modern femininity. Cue androgynous wool tweeds done in midi dresses with voluminous long sleeves, pleated A-line dresses featuring wallpaper prints that could have easily been taken out of one of the lavish rooms on the movie set and romantic bouclé tweed suits accessorized with pearl-embellished headscarves, like the ones worn by Corleone.
For the finalé, Wickstead
With a debut collection that’s just hitting the shop floor, Riccardo Tisci is still under the microscope at Burberry, and he’s had to work rapidly — and publicly. There are shareholders to please and stores to fill, 442 worldwide, plus franchises and wholesale outlets, and a drumbeat of monthly T-shirt, hoodie and accessories drops sold via Instagram. The company, which has a market capitalization of 8 billion pounds on the London Stock Exchange, is also in transition mode under new chief executive officer Marco Gobbetti, with big plans for growth.
Tisci took a step forward for fall, tightening up the show, clarifying his vision and making a return to that classy streetwear for which he’s known. His lineup featured tailored coats with puffers tacked to the back or with big faux furry hoods bursting from the collars. He tore apart rugby shirts and stitched them into a dress, punk-ed up leather baseball jackets with little phrases like “Burberry isn’t good for you” down the woolen sleeve, and gave a shearling a tough edge with slicks of black patent leather.
The designer has never made a secret of his intentions: He wants to dress everybody — mothers and daughters, fathers and sons —
Some designers are responding to the dire political mood in the U.K. by darkening their color palettes and toughening up their fabrics.
Michael Halpern is instead delving further into his fantastical world of sequins and all things shiny and over-the-top.
For his fall range — shown in the Deco ballroom of a Mayfair hotel — he referenced Russian illustrator Erté to create striking Twenties-inspired silhouettes and colorful, multilayered prints echoing Erté’s fantastical illustrations.
“There’s nothing rooted in reality here. Why can’t a fish have wings?” said Halpern, pointing to a print featuring leopard patterns mixed with illustrations of fish morphing into birds.
He wanted to flex his muscle beyond his signature sequined creations, applying his fantasy prints on voluminous duchesse satin coats; showcasing his draping skills with a series of more pared-down jersey maxidresses in bright yellow or fuchsia; or playing with a striking gel organza fabric and working it into a draped minidress or a one-shouldered top featuring a long train.
Yet Halpern is not ready to completely let go of sequins just yet. In fact, he thinks he has “barely scratched the surface with what you can do with sequins.”
He sprinkled a healthy dose of sparkly creations here, renewing them by cutting or
EXHIBITIONIST: Phoebe English showcased pieces from her fall 2019 women’s wear offering at the Morley Gallery in South London at an exhibition called “Inanimate, Animate. (Only) Half the Reflection,” a show in two parts, the second of which features 30 charming marionettes wearing to-scale pieces from her archive.
The person-sized clothes, which made their debut during the men’s shows last month in a presentation, were suspended from the ceiling on rotating mechanisms that afforded close-up inspection of the intricate techniques that have earned her a loyal following.
There was a black pinafore dress with T-shaped cuts outlined with wide satin stitch embroidery, and a delicate white mesh harness.
“We call this coat, ‘The Coat of Dreams (and of Nightmares)’,” said English, fondly nodding to a black topper made from a great many patches of recycled black fabric, each piece encased in fine silk tulle. The kind of deceptively simple, thing that a cursory glance sets the mind to thinking, “Right, black coat” but an up-close eye-ball reveals all its complexities.
The space was scented by Timothy Han, who used the aromas of birch tar and dry wheat from his “On the Road” fragrance to emphasize English’s focus on natural sustainable fabrics, and Johanna Burnheart performed
“My husband gave me this photo a long time ago, it’s of the Venice Beach Rock Festival in 1967,” designer Winnie Beattie remarked, holding up a picture of the back of a girl seemingly swaying with her hand in the air facing the festival landscape. “I was like ‘Oh my God that looks like such a “Warm” girl to me,’ like the spirit, so it kind of started this whole festival vibes for me — not in a Coachella — but in a 1967 Venice retro [way].” Influenced by the image’s energizing yet easygoing spirit, Beattie sought out to elevate the relaxed fashion depicted through modernized silhouettes.
The collection included a lively mix of silks and velvets in pieces that could be, “super earthy-hippy or super sophisticated,” as she put it. For instance, new wide-leg, relaxed pants in burnt orange velvet with a matching loungey jacket or Chinese dragon printed slightly-shimmery lurex jumpsuit. Beattie’s familiar printed frocks came in wonderful updated floral and striped colorways; two of the best came in short A-line minidress silhouette. Ditto to her uber soft, solid cotton voile jacquard blouses with smocked cuffs and collar and short-sleeve long dresses. Beattie successfully emulated the folky festival vibes
In 2017, Shane Gabier and Christopher Peters, designers of Creatures of the Wind, decided to shift their business to a project-driven, rather than season-driven, model. Like many designers trying to figure out how to survive the shifting industry tides, they did some soul-searching, which could well be fall 2019 New York Fashion Week’s biggest trend. It brought them to Tuesday night, when they presented their first runway collection in a year at the Pratt Institute campus in Brooklyn, where Gabier is a visiting professor in the fashion department.
Instead of a soundtrack, they tapped trend forecaster Faith Popcorn to deliver a short lecture about the realities that got them to this point — the planet in peril, the new gender-fluidity norm, buying based on social values — as models paraded around the school auditorium in upcycled looks made of vintage or deadstock.
“There are so many parts of the process of making and selling clothes that we’ve never totally been comfortable with,” Gabier said before the show, recalling a moment when the designers looked at an endless rack of black pants at their distribution warehouse that made them feel “sick to their stomachs.” “That…didn’t feel like luxury,” Peters added. “We felt like
“You have to come to New York to see a private couture show.”
That observation came from no less an aficionado of the haute genre than Sidney Toledano. Surely the couture notion crossed some other minds of those exiting the Marc Jacobs show on Wednesday night after what was a dazzling display of fashion.
Jacobs scaled everything back but the fashion impact. He showed 40 looks, fewer than his typical 60-plus, to an audience far smaller than usual. Yet he kept the show at the vast Park Avenue Armory, where he installed a reflective black glass floor and hired the American Contemporary Music Ensemble to perform live. He positioned the quartet off in a corner, far from the runway but well-lit and very much in view as the models proceeded out, each commanding the space solo and exiting fully before the next girl emerged. It all coalesced into a haunting dialogue between intimacy and distance.
The clothes were exquisite. “Each [look] will be an exaggeration of our view of who each of the women is,” Jacobs said during a preview. “For lack of a better word, it’s like a cabine of women we love.” Perhaps the most loved: Christy Turlington Burns, who last
Batsheva Hay hosted a sort of theater piece to present her fall collection. While a few women were working at sewing machines, the models, including actress Christina Ricci and musician Melissa Auf der Maur, walked down the stairs of an empty retail location in SoHo after reading small excerpts of love songs at the microphone. They were dressed in frocks and separates that were inspired by “me being taken around the Salvation Army when I was a teenager,” the designer said before the show.
The brand’s signature prairie dresses, cut with high necklines and pouf shoulders trimmed in ruffles, were rendered this season in a range of fabrics — from red velvet and a shiny orange silk taffeta to a cloth printed with images of Holly Hobbie. The same motif also gave a retro, childlike feel to cropped pants with ruffled cuffs, which were matched with a floral top. A blue apron dress revealed a sweet Peter Pan collar, while a rose-shaped application embellished a ruffled frock crafted from a white and green striped cotton. Though the collection was heavy on Hay’s signature dresses, they were juxtaposed by a few separates and an outerwear style, a dark green velvet coat embellished
PARIS — Karl Lagerfeld is adding a dash of New York glamour to his Paris-based line: the contemporary brand has recruited Olivia Palermo to collaborate on its fall collection.
The influencer will style pieces from the line and cocreate five bespoke designs as part of the partnership, which will run parallel to the brand’s previously announced collaboration with fashion editor Carine Roitfeld, who will also select an edit of fall pieces.
Palermo, whose polished style has made her a regular of international best-dressed lists, brings with her an Instagram following of 5.8 million. A fan of bold prints, bright colors and relaxed suiting, she has previously worked with brands including Piaget, Banana Republic, Pretty Ballerinas, Aquazzura and Nordstrom.
“Being able to collaborate with the visionary and iconic Karl Lagerfeld is truly incredible,” Palermo, the founder and chief creative officer of her own group, said in a statement. “I am so proud to bring our shared vision to life on this project and infuse my own eclectic perspective to Karl’s fall 2019 collection.”
The brand, in turn, described her as “a champion of confidence, entrepreneurship and creativity.” Her selection, under the label Karl Lagerfeld Styled by Olivia Palermo, will launch at Karl Lagerfeld stores, online
Designer Moon Choi has been in the fashion game with her eponymous label for just around two years. Within that time, she’s established a gender-fluid identity of minimalist dress that relies on traditionally mannish styles with conceptually driven touchstones. The brand is broadly appealing, namely because unique references underlie her spare, modernist inclinations.
Choi said she was inspired by the duality of movement and human emotion for fall. “I believe life is not a single layer. It’s about experiences and movement. I really thought about how the garment flows with our bodies and emotions.” To show that thread of movement, she lightly twisted and wrapped the lines of garments in ways that naturally follow the body. For instance, a new category of chic jersey knit tops in dusty tones of mustard and grayish-green were twisted at the torso as if the wearer had turned around; ditto for a similarly body-hugging navy dress.
She balanced familiar open-panel coats against unexpected drama, notably with an impossibly chic trench coat with asymmetric construction and floaty panels along the sleeves that were meant to represent multi-layered identity. The dynamic between warped edges and straight lines was infinitely attractive.
The collection was just as much a statement on
“Tough but happy” is the attitude that Amy Smilovic requested of the models walking the Tibi catwalk on Sunday afternoon. That was also the overall mood of the collection, which combined the brand’s signature minimal, urban-chic aesthetic with charming, vibrant colors and eye-catching details, such as the sparkling sequins embellishing the sleeves of clean-cut dresses with snap buttons.
“Curiosity, exploring, modern details, but not too much,” said Smilovic backstage after the show, summing up the driving forces and the main ideas behind her collection. In her desire to shake up heritage with experimentation, for example, she peppered city separates with sporty drawstrings and embellished sleeveless frocks and midiskirts with quilted duvet inserts; knitted sweaters got the deconstructed treatment.
Tuxedo blazers showing constructed shoulders worn with mini skirts had an early Nineties’ feel, while the glossy printed crocodile leather skirts styled with soft, cozy knits and the fluid dresses with bow collars styled with boots exuded Seventies’ cool.
New mini bags with chain straps introduced a cute note to this sensible wardrobe for empowered working women — a lineup for girls who are tough but happy, indeed.
Derek Lam 10 Crosby design director Shawn Reddy is feeling preppy for fall. He name-checked Ali MacGraw’s character in the 1970 movie “Love Story” as his seasonal muse. In the movie, MacGraw goes to Radcliffe College, once the sister school to the all-male Harvard. “It’s such a visual movie,” Reddy said during a walk-through.
The idea came through on shirting with a knit yoke and built-in scarf details that can be tied around the neck, and also with some tops with rugby strips cut on a bias that ran diagonally down the garment. Looser micro-check suiting, a new blazer shape for the season with a nipped waist silhouette, and new zipper and button details could be paired with one of the plaid puffer outerwear options. Each had a preppy vibe but were injected with a light design twist.
With fall comes the lead-up to winter events. Reddy offered up crew neck cotton tops with feathers cascading at the waistband and sequin wide-leg pants, a fun take on the signature pajama pants a Derek customer knows well. Here they were done in silver, black and rose gold.
Faux-fur accessories added a rich layer to the contemporary collection, with super soft options including trapper hats, gloves, oversize bags and
For fall, Chiara Boni explored new territories with her signature stretch jersey fabric. She paired it with velvet to create shiny suits and fitted dresses, while tactile patterns inspired by opulent brocades were rendered in skintight separates punctuated by ruffles and sheath frocks embellished with peplum details.
Playing with fabric combinations, the designer dressed up jersey frocks with tulle sleeves and heart-shaped embellishments at the bodice. The flamboyance of wallpaper-like floral motifs enriched by golden threads was tempered by the mannish suiting patterns of a very feminine skirt cinched at the waist with a jewel-like belt.
Highlights included a black and gold fluid maxi dress injected with a folkish attitude, as well as a ballerina-like frock with a romantic bow that seemed designed for a modern Sabrina.
Ulla Johnson’s fall collection combined bold patterns, rich textures and flattering silhouettes in a lineup that exuded a romantic, adventurous and poetic sensibility. But its many diverse ideas were unified by an elegant, sophisticated attitude.
Nomadic and subtly bohemian references injected a charming feel into the clothes, which seemed designed for a chic globetrotter exploring the world with style.
Shearling coats with tick stitching that created check patterns, as well as striped vests and overcoats with a rustic feel were matched with safari-like separates in graphic motifs, maxi leather skirts embellished with macramé inserts, as well as corduroy separates with tops that had draped, maxi shoulders. Flowers blossomed on both a sumptuous, maxi ruffled dress worked in a shining devore velvet and on jacquard frocks and separates lightened up by shimmering metallic threads.
The collection’s overall hyper-feminine allure was savvily tempered with more urban and minimal styles, including a workwear-inspired jumpsuit crafted from cream white denim, which was also used for a pair of carrot pants matched with a beautiful Peruvian baby alpaca handmade crochet sweater exuding exquisite sartorial quality.
Armed with impeccable taste and a very distinctive tone, Johnson delivered another solid collection that brought an intriguing multicultural, romantic vibe to
When you fall, you fall hard… Tall, dark, and handsome is an understatement when it comes to John Day. With rugged good looks, his ever present plaid shirt, and a dog named Babe, John is a modern alpha male lumberjack in more ways than one. Lurking beneath the gruff exterior and beard could be the heart of a romantic. Or is John a wolf in flannel clothing? After his favorite neighbor rents out her cabin for the winter, John finds himself playing fireman and tour guide to Diane Watson, a beautiful brunette with her own messy past and recent battle scars. Will he be ready to fall in love? Or will he go back to his old, flirty ways? Hold onto your heart… and get ready to fall with John Day as he tells his story in this contemporary adult romance/romantic comedy told in male POV. This is a spin-off from Geoducks Are for Lovers. It isn't necessary to read that novel first.
Lisa Perry has mined the Sixties so thoroughly that it has become her signature, with groovy colors and flower embellishments her known calling cards. For fall, she stepped outside of that trope and examined the Seventies, pointing to as inspiration the heyday of Yves Saint Laurent. While Perry has dipped into the period before, this season was a full-on dive into the decade.
But this wasn’t any sexy Parisian discotheque. Instead Perry showed a tightly edited collection of pieces done with unexpected color combinations — stepping back from her usual primary shades — and easy-to-understand silhouettes.
“It’s still color but it’s something different for me,” the designer noted at a private preview in her sunlit SoHo showroom, adding, “I wanted a vintage feel but still modern.”
Newness came from lush textiles, including a beige knit head-to-toe look; a top and pant with fringe details at the wrist and ankle, and a looser seven-gauge knit top with oversize cable knit detail, done in pastel pink. Another standout was a turtleneck sweater that combined all the secondary colors into one subtle spectrum.
Texture was also on the docket with a yellow calf hair A-line paneled skirt and a few yellow stamped python separates.
Perry has a strong
“I’m saying that this collection reminds me of ‘the Medicis going to the disco,’ which is a ridiculous quote,” Markarian designer Alexandra O’Neill demurred. As unrealistic as the idea might sound, her stellar fall lineup seamlessly melded fanciful femininity with sparkling disco fever.
Gowns came in velvets, traditional brocades and classic floral prints with puffed sleeves and dramatic ruffles, but given a modern edge with shimmering, glitzy details. For instance, a black velvet ballgown and fanciful velvet “tracksuit” both came festooned with rhinestone trimming, while a floral brocade gown boasted a dramatic ruffled bust.
Channeling a more obvious disco vibe were dazzling minis: a holographic pink wrap dress with puffed shoulders and bow made of a viscose fabric that “would literally go up in flames” according to O’Neill, or a really great ruched black-and-white spotted number. Playful details — hearts, bows, flowers, rhinestone belts — adorned dresses and separates throughout, adding to the fun femininity. Each piece in the 40-look collection was strong, but melding the two ideas into her aesthetic is where O’Neill’s collection truly shone.
In a sprawling State of the Union address, President Donald Trump’s attempts to call for bipartisanship largely fell flat with the assembled Democrats, including House Speaker Nancy Pelosi and New York Representative Alexandria Ocasio-Cortez. News
Even though this may be his sophomore collection, Victor Li has luxury on the brain.
On his latest trip to Hokkaido, Japan, “I asked myself what I would put into my suitcase from a traveler perspective,” Li said at his presentation, which was held at the Japan Society.
This translated into a sophisticated traveler’s wardrobe, with classic pieces including a taupe shearling jacket worn with soft pink cashmere sweatpants; a cream double-breasted overcoat and a suit offered in three different fits: American, European and a kimono jacket version.
Some of the more fashion-forward pieces, such as an embroidered blanket jacket and a black leather parka, gave the offering that extra luxe feel.
Li also launched accessories this season, offering a nylon waist bag, and two duffel style bags — one in canvas and one in leather.
Whether or not your next trip is short or long, Li definitely knows that comfort and elegance are key.
“Yeohlee throws herself a challenge,” the designer said of her namesake fall collection during a preview at her store. Never mind the mathematical or geometric undertones of her deceptively minimalist designs. She was speaking to the season’s sustainable arc, where she dived into years worth of archival fabric and inventory to create a wholly upcycled range.
Sustainability is arguably the most widely discussed issue facing the fashion industry today, and it’s become an umbrella term for a range of good practices. For Yeohlee Teng, it means endurance, and being able to reinvent old fabrics for the modern day. There were a host of standouts, including a neon day-glo fabric from 2003 cut into an athletic-leaning jacket and joggers, plum melange silk taffeta from 2008 rendered into languid pants cut on the bias, and silk duchess satin from the Nineties reimagined into a voluminous yet lightweight baseball jacket that maintained a great ballooning shape.
Cohesion was Teng’s biggest challenge, and she managed to unify looks with a sculptural and modernist hand that held a gender-ambiguous thread. Outerwear highlighted these elements best, and included a wide-neck coat with high-low hem that was actually one width of square fabric, and a regal black-and-silver duchess satin
Fall marks four years since Kobi Halperin launched his line, and as such, the designer was feeling nostalgic about beginnings, in terms of both the brand and his personal life. An avid traveler, Halperin often mines the cultures of far-flung locales to influence an aesthetic heavy on prints and detailed embroidery. He didn’t disappoint in those areas, offering a breadth of warm, inviting patterns culled from carpet textiles in his homeland of Israel.
Upon first glance, there was noticeable variety in terms of color, texture and patterns. It was a lot, and all quite polished and elegant given the mashup of prints. There was a seamless blend of skirts with washed out rug patterns and the ornate novelty blouses for which he’s known, and with graphic ikat separates complementing crushed velvet tops with vintage-leaning baroque embroidery. It wasn’t all so literal — white lace was created with carpet motifs Halperin brought back from flea markets in Tel Aviv, and feathers punctuating elevated knitwear mirrored decorative tassels that framed rugs. He was drawn to carpets for their connotations of comfort and feeling at home.
He made a point to highlight a casual element the Kobi way through silky blouses with puff shoulders, crushed
It probably was a good call for London-based designer Paula Canovas del Vas to show her ready-to-wear collection during Paris Couture Week, a traditional setting that made her high-voltage silhouettes all the more striking.
Inspired by the surrealist work of film director Alejandro Jodorowsky, Canovas del Vas, a Central Saint Martins graduate, played with volumes, proportions and materials with abandon. There were bright orange fringe dresses, faux fur skirts, short coats and gloves, exaggerated bunched-up shoulders and a couple of cycling shorts. Technical materials like Lycra were paired with wool creations embossed with giant flower motifs, an old technique popular in the South of Spain, where the designer hails from.
Hair was twisted in aerials sticking up from the models’ heads and curving devil’s horns protruded from the front of tops. Mohair shoes — the “Diablo” flats and boots, real showstoppers — were a true work of art, made by eight different artisans.
“There is a real sense of craft to what I do, everything is handmade,” Canovas del Vas said backstage. Bringing together the OTT aesthetic of East London, where her studio is based, and the traditional craftsmanship of Murcia, the Southern Spain region where her family is from, the designer’s creations are both an accurate
For her secondary label, Isabel Marant doubled down on comfort, considering what she would want to wrap herself up in when the weather turned chilly. A fuzzy plaid shirt thus became a poncho, its zip-up collar adjustable for extra warmth. An oversize, quilted vest, too, looked cozy — it had texture, in the form of braid patterns — and smart, as well, cinched at the waist with a leather belt. The designer was equipping her young, fashion-conscious customer with solid outerwear that doubled as a protective layer.
Another example came in the form of a thick brown leather jacket, like a pilot’s jacket from the last century, repurposed for a new era — the shoulders had Eighties-style extra puff. A pale purple sweatshirt was embellished with quilted shoulder patches, and an acid-washed jean jacket had a fuzzy wool collar.
For dressier occasions, she offered an elegant black lace dress, snug in all the right places for sexiness, and an extra ruffle for a touch of the romantic. Her peasant blouses had large sleeves and two ruffles on each shoulder.
She kept her waists high and the sweaters chunky, for the most part. The collection was all about being in the comfort zone: the
With only a few seasons under her belt, Isabel Marant has found her groove for designing her fledgling men’s wear line. The fall collection hit a new level of confidence, offering relaxed and stylish pieces that translated her codes into a youthful offer for men in the market for something out of the mainstream.
“It’s mostly a story of a good cut, good fabrics, good colors — it’s not about dressing a man who’s super fashion-conscious, but rather to dress a man for everyday life, with a bit of style and a bit of attitude,” she said.
The Eighties vibes prevalent in her women’s lines transferred over in the form of loose, windbreaker-style cuts with rounded shoulders — a house signature. Examples included a light pink sweatshirt with ivory patches, a thick brown leather bomber and a thin shiny silver jacket with khaki and copper panels that zips up the front. Further addressing the outerwear craze, she delivered trenches, an autumn-toned camouflage raincoat and a cosy reversible shearling coat.
Other highlights included a faded pink boiler suit and an added touch of humor on the back of a dark corduroy jean jacket: embroidered with a wolf face it reads “I howl my
Andrea Rosso focused on repurposing the internal lining of military jackets this season, upcycling it into other forms. “We call this collection ‘Re_enforce’ because we give strength to something that did not exist before,” he said, citing as an example parka liners that became bombers.
“Every product is unique because it’s vintage,” continued Rosso, who chooses deadstock with which to work from warehouses. “We love to unstitch, restitch and to give another view of the garments.”
He sliced Belgian camouflage jackets in two, turning one part inside out before reconstructing the halves together and adding pockets for symmetry. Sweatshirts were reconstituted, too.
U.S. Air Force sweatpants were given the Myar logo on one side, with some dyed in pink, orange or light blue. Swiss military camouflage was dyed light blue, and on the jacket’s back a swatch of the original material was sewn on.
“This is somehow maintaining the past, but with a modern view of it,” Rosso said. He reworked numerous types of uniform pieces, such overpants, with pockets and reflective touches, to become urban trousers.
For the first season, Myar created various sized bags from scrap materials. “We tend to give a second life to everything that we can,” Rosso said.
And for the third year,
For Michael Michalsky, becoming creative director of Jet Set was like coming full circle. As a teenager growing up near the German city of Hamburg, he would take the train into town on Saturdays to window shop at the luxury sportswear brand’s store.
Eventually, he managed to buy one of its jackets on sale. That orange bomber jacket from 1984 has been reissued as part of Michalsky’s first collection for the St. Moritz-based label, which celebrates its 50th anniversary with a series of drops celebrating archival designs from its Eighties heyday.
“Jet Set during that time was in Germany, Austria, Switzerland, Italy the non plus ultra luxury sportswear brand, basically. If I look back on it now, they created a segment that now every luxury brand really wants to get into,” he said.
“Ever since then I had a love affair with the brand, because I have always been very fascinated and very smitten by sportswear,” he added.
Jet Set couldn’t have dreamed of a better advocate for its revival. With a passionate eye for detail, Michalsky pointed out the technical details – many borrowed from U.S. military garb – on ripstop bomber jackets, heavyweight cotton T-shirts and performance ski suits.
Each drop will be
Jason Basmajian stuck to urban territory for fall, familiar landscape for the label as he continues to fashion it as a modern and upscale option. He uses the term “elevated sportswear.”
“The cross-pollination between sportswear and tailoring has always been a very natural DNA to the house — I think we keep refining and detailing it down,” he said, speaking backstage before the show.
Down the runway, he sent a handsome, belted suit jacket in pinstripes, fetched from the archives and refined for a contemporary audience. In a sign he’s reaching to meet a lasting fixation with outerwear, the options multiplied as the show advanced: trenches, an exquisitely tailored windbreaker, a structured puffer coat for women and the finest leather jackets — one eye-catching bomber had a gathered leather waist and panels of silky fabric. Accessories held their ground, expanding even, to include a tablet case and a camera bag.
“It’s quite deceptively simple in a lot of ways,” Basmajian said, noting the workmanship and choice of fabrics behind the lineup, which in addition to the puffer offered more pieces for women.
Sabina Sciubba of the electronic dance group Brazilian Girls animated the show with a performance, singing in three languages.
New management led by
Sean Suen had a powerful storyline for fall, but the clothes also stood strong on their own.
He named the collection Ghost Town, after his childhood home of Fengdu in China, now covered by the waters of the Three Gorges Dam. The town still exists in his mind, which he continues to explore as a memory. To symbolize its gradual disappearance, Suen offered fraying edges and a fading gray color scheme on a simple, felted trouser and sweater set. For the move to higher ground, the model was equipped with an oversize, chunky knit bag in a silvery gray, slung over one shoulder, stretching down to skim the ankle.
In contrast was knitwear from childhood photographs, wavy stripes drawn on a collared sweater, in a hot-cold color palette of orange, mustard, gray and black.
Suen operates in elegant territory as reflected in this lineup, which proves especially relevant as men’s fashion edges upward. Sleek suits carried an element of deconstruction, a house signature, with a broad panel that cut across the chest diagonally, like a stiff blanket skewed to the side, but carrying certain elements of the jacket, like a breast pocket. One panel in black, quilted velvet jutted out further than usual,
“Respect” was one of the words spelled out on the walls of the Kiton showroom in Milan. “We must not forget where we come from,” said chief executive officer Antonio De Matteis. “I think too many are losing their way.”
To avoid that trap, Kiton’s core customer remains central to the brand and he is a global traveler—whether for business or pleasure. And that man needs a light, deconstructed suit that can be pulled out of a suitcase without any fuss. “Formal wear becomes smart casual clothing,” said De Matteis. One that comes with price tags that can reach between 30,000 and 50,000 euros in the case of soft vicuña jackets.
Exclusive fabrics continued to add new touches to Kiton’s staple Prince of Wales or houndstooth jackets. Four-ply cashmere jackets and hoodie shirts stood out, flanked by military styles similar to parkas with fur collars or reversible quilted jackets and a cashmere coat lined in weasel, nutria or mink combined with a double face garment with an extractable fleece lining.
Mariano and Walter De Matteis, the twin brothers and sons of the ceo, presented the third collection of their KNT line, which employs the same premium fabrics as Kiton but with a sportier
The creative duo known as Dan and Shan staged their intimate presentation in a shallow pool of water. Scrunched up satin arms trailed from the backs of shirts and extended from trouser legs. They were dragged through the water, and then wrung out from time to time.
Much like the shallow pool, the clothes were fluid, loose and relaxed. There were satin shirts in light steel or pale blue with oversize collars. Silk scarves came looped around the waist or tied at the neck.
As with seasons past, the designers continued to explore notions of gender-blending by playing with silhouettes. Trousers were cinched high on the waist. Some were flared while others were straight-leg. Tops were cut asymmetrically.
This season, they also played with textures: a green crinkled overcoat with buttons running down the back was a standout.
Andersen brought a Copenhagen chill to her collection, which unfolded in the vast outdoor courtyard of Broadgate Plaza, near Liverpool Street station. She certainly came prepared, placing little disposable glove warmers on each chair for guests, and sending out a lineup of cozy knits and plump fur coats — in addition to lots of pinstripes and hand-painted prints.
The designer said she wanted to fuse the idea of streetwear with classical tailoring and luxury fur, as the lines between catwalk and street have blurred beyond recognition.
She worked charcoal pinstripe fabric into karate-style suits, puffers and tracksuit bottoms sealed with reflective tape. Her long, swooshing pinstripe topcoats had a gangster-ish feel to them. That pairing of formal and sporty worked beautifully, although it remains to be seen what bank, law firm or judge will let those outfits through the door.
Andersen worked lots of color into the collection, too, via freeform, hand-painted prints on shirts and hoodies and a terrific lineup of knitwear, including cable-knit leggings for a cold January night, and boxy color-blocked sweaters in rich combinations including corn and mint green.
Color also came in the form of fat, luscious fur coats. They were long and silvery, hip-length and baby blue, or short
In a dark tunnel in East London, designer Arashi Yanagawa brought punk and gothic rock alive again.
As the underground band Wild Daughter performed center stage, Yanagawa delivered a collection that let him revel in his ongoing obsession with music and subculture, filled with Nineties-inspired punk and rock references.
There was animal print and leather galore: Slim snakeskin pants were layered under a leopard-print tunic; trench coats came in glossy taupe or black leather; classic tailored suits were paired with corsets or see-through mesh tops, and leather jackets featured metal fringing.
Elsewhere, Yanagawa piled on the patterns and texture, layering snake and leopard-print separates with check coats or mixing matte and glossy leathers.
The rock star references and wet-hair, dishevelled look of the models had a whiff of Hedi Slimane and felt a little too nostalgic of a time long gone.
But Yanagawa’s expert tailoring, as in a range of roomy, big-shouldered coats in heritage fabrics, added a more contemporary spin — and showed that he has the potential to take his designs in new, more current directions.
LONDON — The first weekend in January is never an easy one, but London has the antidote, with a lineup of streetwear and luxury stores and restaurants serving everything from classic British to Taiwanese food, all of which will be open during London Fashion Week Men’s.
London store End.
END OF THE LINE: British property group Shaftesbury has expanded its retail portfolio, opening the first London outpost for the online men’s wear store, End. Occupying 9,000 square feet on the corner of Broadwick and Marshall Streets, the two-story glass-fronted space offers a range of collections from labels including Off-White, Gosha Rubchinskiy, Nike and Adidas Consortiums. The store, which already has units in Newcastle, England, and Glasgow, Scotland, features modern furnishings such as marble staircases and glass showcases.
End is part of a strategy by Shaftesbury to position Soho as a go-to destination for emerging brands. The company has been offering reasonable rents in the neighborhood, which is a few minutes’ walk from Oxford and Regent Streets. Shaftesbury has also helped to install Supreme, Palace, Carhartt and Dukes Cupboard, a multibrand retailer, in the neighborhood. Samantha Bain-Mollison, head of retail at Shaftesbury, has been driving the strategy. She describes End as “influential, with a renowned selection of directional and globally sourced men’s wear.” — Hannah Connolly