Author: studiobypines

There’s a palpable shift happening at New York Fashion Week. Namely, once home to a roster inevitably comprised of a slew of legacy or more established brands, the event has, in recent seasons, been more of a champion of the city’s up and coming designers. This season, designers such as Sami Miro and Grace Ling made anticipated runway debuts on the official calendar, beloved established emerges Elena Velez (who’s show culminated with a staged mud fight among its models, sparking characteristic controversy) and Luar (the week’s grand finale) drew out sizeable crowds yet again, and Peter Do’s Helmut Lang debut brought nostalgic freshness to a familiar brand. From the quintessential runway stunt (now a fashion week norm at the height of social media) to creative takes on merging design and technology, à la Collina Strada’s AI designed presentation, New York’s Spring/Summer 2024 stage had it all.

Ahead, a recap on some of the best shows the week had to offer.

SANDY LIANG

PHOTO: SANDY LIANG

Sandy Liang took to the New York Fashion Week runways with its brand essentials — rosettes, Teva sandals, ballet flats, and a plethora of preppy bows. The brand’s distinguished uniform, informed by Liang’s distinct sartorial voice, continues to influence that of every fashion girl’s Pinterest boards — pencil skirts and dad shoes galore, capris and sweater sets, princess dresses, and ballet flats. Liang utilized primary colors this season, sprinkling accents of vibrant greens, yellows and reds throughout the collection alongside neutral hues and romantic pinks.

MIRROR PALAIS

PHOTO: MIRROR PALAIS

Designer Marcelo Gaia titled this season’s Mirror Palais collection “The Return of Glamour,’’ which about sums up the brand’s runway presence (again closed by Cindy Kimberly) in a nutshell. It was a melting pot of delightfully romantic silhouettes and elements, exploring modern takes on classic womenswear styles. There was impeccable technique in ruching, corsetry and draping details, while balancing everyday styles such as mini skirts and matching sets. Then, the collection’s color palette remained unapologetic ally feminine throughout, a rosy, floor length, lace up gown the indisputable star of the show.

COLLINA STRADA

PHOTO: COLLINA STRADA

Confronting the terrifying notion of the rise of technology in fashion, particularly the looming uncertainty of what is to come next with AI, Collina Strada posed the crucial question many have pondered, especially amid the hyper glamorized machine that is Fashion Month: “Why are we here? The Earth’s on fire.” For the brand’s Spring/Summer 2024 presentation, models walked the runway with bizarre and uncomfortably forced grins, only relaxing into their normal demeanor once reaching the end of the catwalk. The show utilized AI as a creative design tool, feeding the technology previously designed collections to establish the brands design tendencies and codes, before settling on final designs. The result combines the brand’s usual maximalism with new, softer elements of intricate construction.

ELENA VELEZ

PHOTO: ELENA VELEZ

At Elena Velez, models walked (and later wrestled on) the muddy runway, taking to a Bushwick warehouse to present the latest realization of the provocative designer’s creative vision. Titled ‘The Longhouse,’ the show brought audiences deeper into Velez’s apocalyptic fantasy, showcasing uniforms rarely referenced in design for the woman who isn’t necessarily regarded as glamorous or sophisticated in the industry, feared more often than studied. Anyone familiar with the Milwaukee native’s ethos by now knows that destruction is a theme that Velez builds on collection after collection through the manipulation of unexpected textiles and metal. It’s meant to be dark, the impact of Velez’ design feeding off the designer’s own discomfort and off-beat visions of beauty, and this season was no exception.

KIM SHUI

PHOTO: KIM SHUI

Growing up in Italy, Chinese-born designer Kim Shui explains she faced discrimination from her peers and often felt alienated, inspiring the theme for this season’s whimsical fantasy, which interweaved Shui’s signature Chinese flare with romantic design elements inspired by the Italian coast (also aptly on theme with an the overarching fashion trend this past summer, dubbed ‘Europeancore’). Floral elements were overwhelming and explosive, the garments bearing 3D applique, bright patterns and ruffled textures characteristic of the ‘la dolce vita’ lifestyle that Italy is famous for. Shui explored various textiles such as leather, lace, silk and mesh, and used transparency to her advantage to create dimension and movement throughout the show.

DION LEE

PHOTO: DION LEE

New York is undoubtedly Australian designer Dion Lee’s creative playground, and the sartorial language his clothing speaks in is one New Yorkers speak fluently. Building ever so artfully on brand codes without falling into repetitive territory (the brand toyed with more denim than leather or crochet this season), models emerged in futuristic, edgy and ready-to-work ensembles. Utility details were omnipresent this season, with excessive pockets, tool belt detailing and lacing details at the forefront of the collection.

ECKHAUS LATTA

PHOTO: ECKHAUS LATTA

Eckhaus Latta’s Spring/Summer 2024 show was a futuristic and western-inspired masterpiece of everyday uniforms with sustainability and technological design at its center. This season, the brand used 3D printing technology to manufacture unique denim textiles, while much of the collection used deadstock leather in a conscious effort by the brand to produce a show with minimal waste.

HELMUT LANG

PHOTO: HELMUT LANG

There was no greater New York Fashion Week chatter than that around Peter Do’s debut as creative director at Helmut Lang — big shoes to fill for the young designer. Held in the Lower East Side of Manhattan, the show was an ode to the city the brand calls home. Chock full of referential elements and Do’s impeccable tailoring, there were accents of bright pink and yellow to highlight the collection’s deconstructed designs, with an emphasis on color-blocking and geometric shapes and stripes versus busy patterns.

With huge designer names largely absent from the New York Fashion Week calendar this season, a slew of emerging designers seized the opportunity to make their official debut, New York-based designer Grace Ling standing as one of the most anticipated newcomers to see. Largely exploding in popularity following a feature on UpNextDesigner, the Singapore-born designer brings a specific elevated edge to traditional minimalism, her signature hardware-accented designs already spotted on the likes of Karlie Kloss and Jennifer Lopez.

Landing not only a spot on the New York Fashion Week calendar for the first time, the Parsons School of Design and Central Saint Martins graduate held the week’s opening slot, showgoers buzzing with the excitement of experiencing the brand’s 3D printed and CGI designed creations beyond their Instagram screens. Titled “NEVERLAND,” the collection was unveiled in the city’s industrial art district, tucked inside an immersive gallery. The location set the scene for models to emerge from the dark void onto the runway, the entire production bearing an almost cinematic essence. Revealing 30 alluring looks, the collection expanded on the dark and playful fantasy of Ling’s world-building, chock full of sophisticated shapes and surreal details representative of the designer’s unique penchant for balance and duality.

At the show’s open, there was a 3D-printed cage-like corset, followed by similar body-hugging molded chest pieces and bustiers with metallic detailing. Sprinkles of the brand’s quintessential metal touches were inevitable — sharp daggers, flowers, and metal piercings (which served functional purposes on garments as buttons and clasps) adorned slinky and draped silhouettes in a way that perfectly blends the hard with the feminine. Then, sharp, exaggerated tailoring appeared in leather, knits, and traditional suiting, showcasing geometric and rounded shoulders on blazers and jackets.

A trend continuing to progress on the runway in recent seasons, Ling explored the use of transparent fabrics with the development of ultra-sheer ‘evanescence’ knits which simultaneously revealed and covered the body strategically with geometric ombres. One of the collection’s most striking looks yet was a gown embellished with an intricate chest piece resembling two hands, seemingly and artfully holding the garment together.

As cult fans of the brand had hoped, Ling’s debut was successful in merging architectural and minimalist principles of design, while maintaining bold and playful details that contributed to a surrealist theme. The show closed in a similar way to a few others this season, with the designer’s subverted take on traditional bridal wear. Ling’s iteration was seductive and twisted, a snug, floor-length, knit number that was indeed one piece, but outfitted with sheer paneling to create the illusion of a tube skirt and bandeau — a tangible representation of just how sartorially bold the Grace Ling client can be.

Ask any millennial, and they’ll likely confirm 2010s pop defined their teenage and early adult years. Miley Cyrus’ good-girl-gone-bad album, “Bangerz”, Selena Gomez’s electro-pop record, “Stars Dance”, Katy Perry’s iconic “Teenage Dream” — Fan or no fan, the dance-centric, club-ready anthems were, in this era, essentially inescapable. While in recent years, the quintessential pop queen has taken a back seat to the likes of the moodier Billie Eilishes of the industry and various other new influences, new music from OG’s Gomez and Cyrus, Gen Z princess Olivia Rodrigo, and TikTok personality cleverly turned celebrity and pop scene newcomer, Addison Rae, indicate the return of hyper-pop may be well on its way.

Released at the tail-end of summer, the title of Selena Gomez’ comeback track, “Single Soon,” teases the same playful attitude radiating from the singer’s social media posts following a long-awaited return to Instagram. On the other hand, Miley Cyrus takes a detour from “Endless Summer Vacation” to reflect on her Disney days with “Used To Be Young” (the ballad is deep and melodic, but let’s not set aside the Tennessee native’s disco-themed breakup record “Flowers,” which topped the Billboard Hot 100 for eight weeks this year). Olivia Rodrigo incorporates heart-pumping drum beats for her teenage rager single, “Bad Idea Right?” And ultimately, Addison Rae’s self-titled EP, along with its Paris Hilton circa “Stars Are Blind” era-coded rollout, revive the lost art of pop in a tangible way. A number of easter eggs woven into Rae’s surprise project drive the point home – A chorus switch-up similar to Britney Spears’ “(You Drive Me) Crazy- The Stop Remix!)” in Rae’s “I Got It Bad,” along with the social media star’s rendition of Lady Gaga’s “Got Nothing On (But The Radio).” But in an industry landscape where any and everything consumable runs the risk of being subjected to a lifespan of no longer than a trending TikTok sound, it begs the question — Is the pumped-up nostalgia here to stay, or is this but a musical blip?

Pop music, as we know it today, was pioneered in the 1990s as a long-standing admiration for R&B, alternative music, and hip-hop artists eventually faded into computer-directed drums and synthesizers, catapulting acts such as Britney Spears, Backstreet Boys and NSYNC* into stardom. Then came the ‘teen pop’ craze, lasting from the late ‘90s through the early 2000s, most recognizable by its dry, synthetic, and overall addictive sound, often recreated by artists such as Charli XCX and Dua Lipa today. The era, of course, didn’t last forever, but has since been reincarnated in bits and pieces within the dance-pop scene of the late 2000s through the likes of works such as Lady Gaga’s “The Fame”, Britney Spears’ “Circus”, and Kesha’s “Animal”.

Part of pop’s downfall was simply the internet. The technological advancement encouraged international communications and intercultural consumption at faster speeds. And while it popularized foreign genres such as K-pop and reggaeton, the internet ultimately changed music distribution. MTV, Z100 New York, and even record labels no longer solely dictated what people were listening to, and now, everyone had a say. Likely, the other contributing half of the shift came from the general fatigue over the traditional pop sound. Take Mandy Moore’s 1999 debut single, “Candy” — Even though it was packaged perfectly as a Britney Spears carbon copy (down to Moore’s unnaturally blonde hair), it only peaked at No. 41 on the Billboard Hot 100. The on-demand access to music created by the internet is also to blame, leading to fatigue that gave way to R&B divas Mariah Carey (“The Emancipation of Mimi”), Rihanna (“Pon De Replay” and “Umbrella”), and Alicia Keys (“No One”) to dominate music during the mid-2000s. That absence of pop music also brought Latin pop (Shakira’s “Hips Don’t Lie”), pop-punk (Avril Lavigne’s “Girlfriend”) and other genres to the forefront of mainstream success.

Yet, now with four major pop releases on our hands (and in our ears) in less than the span of a couple of weeks, the moment feels, again, perfectly primed for another explosion of the genre. First, as the country finds itself in the throes of yet another recession, as was similarly the case in 2008 at the start of the last pop music renaissance, one would be remiss not to ponder the link between economic collapse and the rise of genres fueled by escapism. Then, there’s the revived interest across social media in the lost era of Y2K, romanticizing the idea of ‘simpler,’ better ,’ and frankly, on the nightclub scene, more chaotic times, mood-boards galore harping back to “Jersey Shore”-esque lifestyle and fashion. Then, there’s the assumption that the success of 2010s pop means financial slam dunk for artists involved in its comeback, effectively eliminating the hit-or-miss nature of releasing music in the streaming era, and almost guaranteeing artists a hit audiences will recognize from their childhood.

One thing is for certain, line these new hits side by side, and it’s clear that, while ultimately unique from one another, each track harnesses a dynamic nostalgic element that is fresh, energetic, and, most importantly, shareable.

With catwalks no longer an insider’s secret, and collections now exposed for public dissection well before they hit IRL and online department store shelves — the democratization of fashion, as the phenomenon is lovingly called — fashion’s inherently exclusive nature only finds ways to reinvent itself. With a new mainstream appreciation for niche and archival fashion in recent years, the latest finds vintage designer aficionados fixated with the notion of hunting down and purchasing items from runways past. “Prada S/S 1994”, the caption to an Instagram or High Fashion Twitter post will read — Behold, a new kind of  elitism. Forget IYKYK. The idea is now: “I know more than you.”

Fashion’s current partialness to vintage clothing can, in large part, be tied back to the onset of the pandemic in 2020, a time that influenced consumers to consider  their rate of consumption, and its impact. During the pre-pandemic era, Depop and Poshmark were widely regarded as user-friendly reselling platforms, while The Real Real and Vestiaire Collective didn’t possess the same mainstream cache they do now. Quickly, though, the opportune moment catapulted the online second-hand shopping into billion-dollar-business territory.

As examined by the Vestiaire 2022 Sustainability Impact Report, 33 million shoppers bought their very first piece of vintage in 2020, signaling a massive shift in consumer behavior. Now in 2023, ThredUp’s Resale Report reveals Gen-Z is largely to thank, with one in three items purchased by the demographic being done so second-hand, and 58% of those purchases made online. As the idea of consciously reduced consumption becomes a key aspect in the way we dress, ThredUp predicts that by 2027, new shoppers will account for the majority of second hand sales, demonstrating that this format of purchasing will eclipse off-the-rack retail buying for many people entering young adulthood as first-time investment shoppers.

What many didn’t anticipate was for vintage reselling on the likes  of Depop to create lucrative avenues for archivists and content creators. As the accessibility of vintage shopping increases, so, too, does the idea that an item’s history skyrockets its appeal,  often also reflected in its resale price. Reseller Arianna Aviram tells Beyond The Pines the idea of vintage is now so mainstream, many consumer’s apparent obsession with a piece’s history lies in their bragging rights for obtaining the piece in the first place, describing the phenomena as a form of ‘virtue signaling.’ “The concept of ID’ing clothing has become increasingly trendy and commonplace, but how authentic is this?,” the archivist says. “In a lot of cases, I find many don’t do their own research, and just regurgitate what is being told to them, which oftentimes is incorrect. They just want to appear knowledgeable about fashion.”

A direct example of this identification can be seen across a number of viral TikTok videos, such as Benji Park’s (@Fashionboy) post uncovering the contemporary house codes key to identifying specific designers, for the consumption of those new to fashion. However, here the creator doesn’t spread misinformation, and the virality of this type of content encourages the appreciation of fashion as a part of cultural history, rather than a superficial frivolity. “On one hand, it is great to see people who are true collectors, or are extremely passionate and excited about certain brands and collections,” Aviram says, “especially regarding their attention to detail and depth of research to understand designers.” On the other hand, other creator’s use of memorization is often used as a shiny and deceptive replacement for integrated knowledge.

Stylist and Balenciaga archivist, Alexandra Mitchell points out that for a many, the fascination with vintage goes beyond the boom created by TikTok. “I was a teen on Tumblr, so the process of researching fashion was very personal and kind of the entire point,” she explains. She notes, however, that the “trend” largely got its start with menswear. For years, male online creators often used perceived intellectualization of a brand as means to justify their interest in a predominantly female-driven industry. Now, in a landscape where the access and knowledge to admire the industry is more democratized than ever before, this attitude has transferred from “Rick-heads’’ exclusively, to the mainstream.

Mitchell is no stranger to neither the former nor the contemporary craze of iconic vintage references, having recently recreated, piece by piece, the infamous Mademoiselle Nirvana shoot for Rollingstone in 1993 with Phoebe Bridgers and Boy Genius earlier this year. However, this creative experience was deeply grounded in her childhood memories as her dad told her she took her first steps holding a Rolling Stone magazine with Courtney Love on the cover. “The whole research element was kind of the point,” she says, (noting that she literally sourced some of the scarves for the shoot from Gene Meyers himself), adding “it was like discovering something, and that process was part of what forged my taste beyond the aesthetics–now. People aren’t going on this personal journey. The playbook has been written for them.” Essentially, the current accepted participation is flash-memory, and the quicker you can identify, let alone buy, an item from Tom Ford Gucci Fall/Winter 2001, the more elite you are in the fashion industry in the eyes of an outside content consumer.

As information becomes more accessible, the funnel has narrowed at the bottom, transforming the specificity of knowledge into the industry’s latest covet. Though there is something to be said about understanding the garments we consume, and appreciating the process in which they were created, the authentic manifestation of personal style, too, belongs in the process of discovery.

The 2023 annual Cannes film festival may have officially wrapped, but a number of noteworthy happenings have kept whisperings of the days-long affair afloat. Amid a domino effect of layoffs in the fashion editorial space, some indicating a pivot toward potentially employing artificial intelligence (AI), the industry seems to be prioritizing technology over human creativity. In recent years, there have been AI-generated magazine covers, AI models, and even the first-ever AI fashion week. While these achievements are impressive, they also raise concerns among countless creatives about the potential marginalization of their careers and human identity, and the reversal of the little progress the industry has made in relation to ethnic diversity altogether.

Reflection, a fundamental human ability, drives our capacity to generate new ideas and emotions, making it a crucial inspiration pillar in any creative field. AI, on the other hand, can only build externally, lacking an internal perspective. Web 3.0, characterized by NFTs, AI, and cryptocurrency, represents the merging of Web 2.0’s social projection of online identities with AI and crypto, blurring the boundaries between the two. In her essay “The I in Internet,” Jia Tolentino explores this merger, shedding light on the reality that one of the primary dangers of the increasing presence of AI models and AI-generated images is the immediate lack of representation across diverse identities, which aligns with how the fashion industry seems to employ these tools.

Safiya Noble’s book, “The Algorithms of Oppression,” extensively examines the foundation of racial bias in algorithmic programming, and the biases of the individuals behind them. While the argument for diverse representation in fashion continues to be fought on a larger socio-political stage, the pervasive presence of digital lenses has distorted perceptions of normality, fueling a generation’s compulsion to be online, surpassing the need for unfiltered, face-to-face interactions. Ana Lola Roman, in her “10 Commandments of the Avatarization of Myself,” acknowledges the self-distortion caused by filters, the result oftentimes identity fragmentation.

Mica Le John, the founder of the creative Avatar platform Idoru World, argues that creating an AI model to replace a human model is inherently exclusionary and likely to exacerbate the industry’s systemic issues by further excluding marginalized individuals. Rather than a cautionary warning for the future, examples already exist within the industry to support the notion. For instance, a 2019 Calvin Klein campaign video featured Bella Hadid and the AI-produced Instagram influencer Lil Miquela sharing a kiss. Ironically, one of the models in the video recited the line “Life is about opening doors,” yet the campaign failed to embrace the rarity of two actual queer women kissing in a high-end fashion editorial, settling for a faint digital representation instead.

Similarly, in 2023, Levis announced plans to test AI models that would “supplement” existing models, raising questions about the fashion industry’s reluctance to hire the abundant pool of diverse models available. While some businesses support this approach as a cost-cutting measure, the decision to “employ” an AI curve model instead of a human counterpart is a thinly veiled argument.

This isn’t to say that ethical practices and AI-generated art can’t coexist. During the height of the pandemic, when live presentations were at a near standstill, Black-owned brand Hanifa successfully showcased an entirely digital show using seemingly floating garments parading down a runway sans models. Yet, the show featured body types more realistic than many industry mannequins. However, without careful monitoring, the influx of digital content poses the risk of solidifying cultural biases and further entrenching issues related to identity representation, which Le John points out may very well befaults of mass culture in general, but are greatly amplified in reach and severity by technology. This highlights the need to focus on evolving our cultural standards alongside technological innovation.

Ultimately, it would be remiss not to acknowledge that the rapid expansion of AI in fashion could indicate a democratization of digital tools for artists outside the physical realm, providing an equalizing opportunity akin to the social media boom. However, it remains crucial to set the precedent for the ethical use of AI as no more than a supplement to human talent, not a mere band-aid to cover up its long-standing exclusionary practices.

One of fashion’s heavily debated queries at present — is couture wasteful? Is it a blatant display of excess? Does anyone even buy it? Every six months, when the spectacle of couture week rolls, yet again, back around, the conversation enjoys a restart by industry insiders and outsiders alike. At his first haute couture show, a journalist for SHOWstudio tweeted, “I can’t shake the feeling of sheer disgust at the display of wealth around me,” while other contributing editors and influencers at other publications protested in favor of fashion’s most magical bi-annual event of the year.

This season was met with particular strife due to the anti-police protests that rocked Paris just a few days before the week kicked off, following the unjust and fatal police shooting of 17 year old, Nahel Merzouk, at a traffic stop. Celine, which held one of the last slots on the Spring/Summer 2024 menswear show calendar before the attention turned to couture, canceled their show in deference to the city’s current turmoil. In the end, most shows went on.

However, this extreme juxtaposition is not the first time fashion has continued in the face of political and humanitarian crises. Notably, now over a year ago, Russia’s invasion of Ukraine coincided with the first days of Paris Fashion Week in March 2022, prompting Balenciaga’s creative director Demna to dedicate the brand’s Fall/Winter 2022 show to the ongoing war, shedding light on his shared experience as a former Soviet refugee. As the designer argued emotionally in the collection’s show notes, the presentation, and consequently many employee’s livelihoods, must go on, but he would be remiss to not lend a hand of awareness to the conflict that exists outside the ticketed catwalk’s halls.

Like in February 2022, fashion week continued to muster on. Despite renewed criticisms and growing unrest in the city, this season’s collections allowed fashion fans and editors alike to take a moment of reprieve and witness a timelessly beautiful craft.

Ahead, see some of the season’s biggest shows.

Flower crowns and vintage Tumblr girls make a comeback in Jean Paul
Gaultier x Paco Rabanne’s anticipated collaboration

Always a master, Jean Paul Gaultier’s collaboration couture shows have become one of the hottest tickets each season. Since the designer’s “final” couture show of his own in February 2020, at the onset of the pandemic, the brand has adopted a model that champions partnering alongside other industry moguls such as Balmain’s Olivier Rouseting, Glenn Martens, and Haider Ackermann. Last season’s Ackermann collaboration was highly anticipated, and didn’t fail to disappoint the thousands of watching eyes who tuned in to its livestream to glimpse a peek at their combined craftsmanship. This season, Gaultier’s union with Paco Rabanne’s Julien Dossena, was no exception. The jam-packed front row was filled with industry darlings and die hard fashion fans such as bustier designer Michaela Stark, and the mysterious couture client who snagged the dusty rose halter dress (or look number 23) from last season’s collection. This season was laden with reimagined references from both designer’s archives, one look referencing an iconic 2002 Gaultier Necktie dress. Though the collection was undoubtedly less showy than previous collaborations, the inclusion of abundant lace and decorative flowers managed to present a softer side of each designer, both of whom have traditionally been known for their cool-cut takes on futurism. The romance was unexpected and yet, while some pieces remained at fault of being over stylized, the aura of the designs were refreshing.

Maria Grazia Chiuri does what she does best at Dior — the neoclassical and the feminine divine

On the quieter side of couture this week, Maria Grazia Chiuri unveiled a 66 look collection of strong, mature, and feminine white gowns for Dior that reminded audiences just exactly what Dior couture is made of. The brand’s ready-to-wear shows seem to remain the audience’s main point of interest, often drawing major celebrities and brand ambassadors to the front row. The couture show, on the other hand, remains Dior’s more modest and steadfast tradition, often honoring the core tenants of the house’s history while its ready-to-wear and accessories sectors continue to modernize. The collection, which included gowns and separates, made a strong stance for minimalist quality that appeals to the loyal couture client. Often misunderstood in comparison to the showiness and celebrity quality of other ateliers during the week, Chiuri continues to design for her consumer rather than the masses. Though the collection’s understated suits and gowns might not appear on a red carpet or blockbuster press tour any time soon, Chiuri understands her clients aesthetic desires when investing in something so time-honored as couture.

With nary a Kardashian in sight at Balenciaga, can Demna hold up his designs to the critical, un-pop-cultured eye?

For the first time since the teddy bear scandal and Ye controversy, Balenciaga has seemingly stepped up to deliver what it has promised — a dramatic shift away from gimmick, and instead towards a masterclass in craftsmanship. In comparison to the previous ready-to-wear season, couture provides the ideal stage to do so. Even looking back on previous couture collections, in which celebrity brand ambassadors such as Christine Quinn and Kim Kardashian walked the runway, the entire show appeared less star-studded and hyped than before. Still showing in Balenciaga’s preserved, original couture atelier, and shooting the looks in the traditional style, this season’s collection still had the full support and attendance of the likes of Suzy Menkes and other venerated industry voices. True to past collection’s styles, this season’s couture was a mix of reimagined designs from the Cristobal archive mixed with Denma’s classic, tailored but oversized puffers and denim looks. Though Demna’s Balenciaga has made heavy use of trompe l’oeil and printed denim in the past, the full mimicry denim suit made out of hand painted canvas echoed the contemporary craze for subtle fabric manipulation seen across Matthieu Blazy’s Bottega, Dossena’s couture for Jean Paul Gaultier, and even the this season’s opening couture look at Valentino. Other pieces included hand-painted nylon “fur” jackets, and stunning gowns composed of hundreds of hand-sewn ribbons. The lingering question — is Demna’s renewed appreciation for purist craftsmanship is here to stay?

Thom Browne is as Thom Browne does

Internet observers and industry insiders alike all craned their heads to catch a glimpse of Thom Browne’s debut couture collection. For many years, it has been impossible to call Thom Browne’s ready-to-wear collections anything short of couture, therefore this debut promised to up the ante in ways the industry has yet to see from the designer before. The collection, which showed at Paris’ stunning Palais Garnier, marked 20 years of the American designer’s eponymous label, and a new era for the brand. Over 2,000 guests were invited to enter the show’s venue through the backstage, to then be seated facing a theater filled with two-dimensional Thom Browne cutouts, each dressed in gray suits with the house’s signature three stripes, eliciting a sartorial mirror between the viewer and the viewee. The collection was inspired by a fantasy land of Thom Browne’s brand identity and characteristic design codes including pigeons, gargoyles, and incredibly complex fascinators. Jordan Roth, a notorious couture collector, walked alongside other runway stars such as Alek Wek, and Grace Elizabeth, who closed the show. The brand has found tremendous popularity and celebrity support over the years acquiring fans among the likes of Cardi B, Dian Keaton, and Baz Lurman, each of whom were cozied up in the show’s front row alongside Anna Wintour.

Daniel Roseberry nods to the Schiaparelli’s surrealist roots

Schiaparelli couture is known for two things: it’s 10 AM start to the week at the Palais de Tokyo, and creative director Daniel Roseberry’s immaculately intricate designs. Since taking over the brand and reintroducing it’s ready-to-wear in 2019 after a decade long career at Thom Browne, the designer has quickly sky-rocketed the previously defunct house back to the forefront of fashion and pop culture, his designs for the brand frequented by the likes of Cardi B., Kylie Jenner, Doja Cat, Miss Fame, Violet Chachki, Margot Robbie and more. The house was originally founded by savvy business woman and surrealist artist Elsa Schiaparelli, whose unique designs separated her from not only the contemporary designers of her time, but also the other modernist artists of the early 20th century. In a more heavy-handed allusion to the house’s origin story, this season’s couture collection was inspired by modernist works of art, including Yves Klein, Gustav Klimt, and Salvador Dali. According to Roseberry’s show notes, the collection came together in a matter of weeks this time, rather than couture’s tradition of labored months, to help his creative flow and emphasize his artistic spontaneity. The result was undoubtedly a success as critics raved over the designer’s pieces of wearable art for yet another season in a row.

Guarav Gupta — Better late than never, to see Cardi B.

Known for his intense drama and swooping silhouettes, Indian designer Gaurav Gupta presented a more refined vision of his characteristic gowns for his second on-schedule couture show. Though less bulky than his usual sculptured veils and trains, this season’s gowns remained revealing and elaborate. Gupta noted that the inspiration for this collection came from the Vedic source of universal creation: the Hiranyagarbha. According to the designer’s Instagram, the swooping nature of his designs emulates the cosmos where life itself began. Gupta’s brand has gained significant popularity in the last few years, specifically on the red carpet, due to his dramatic flair. This season, celebrities such as Chinese actress and superstar Fan Bing Bing were notably in attendance, along with Cardi B. In fact, the star’s jam packed couture attendance schedule led to Gupta’s show being delayed for over an hour before her arrival in a custom-bejeweled green gown. Despite the enormous delay in start, the crowd and critics met the collection with applause, leaving anticipation to see where the brand and Gupta’s designs will grow from here.

Twice a year, in between the whirlwind that is February and September fashion weeks, fashion aficionados gather once again in Milan and Paris for the runway unveiling of the most anticipated menswear collections of the forthcoming season. Men’s fashion week, once overlooked in the shadow of its womenswear counterparts, has grown in popularity over recent years (much due to the popularity of certain clout-heavy figures being placed at the helm of legacy fashion brands such as Kim Jones at Dior and now Pharrell Williams at Louis Vuitton), attracting newfound attention from both giddy showgoers and media.

As industry professionals flocked to Paris for the commencement of shows at the start of the summer, so too did some of the most fashionably inclined celebrities, influencers and public figures for a weeklong sprint of front row appearances and afterparties, many of whom were snapped by the lenses of Beyond The Pines’ Matt Abad (Bad Boi). Ahead, Mat offers a look at who’s who of attendees at shows such as Yohji Yamamoto, Sacai, Rhude, and Amiri.

This season at Yohji, BTP snapped Columbian star Maluma. The singer, though his traditional style is a little more eccentric than Yohji’s palette, looked calm, cool and sleek wearing jet black sunglasses and a tailored camo jacket.

Fresh off the runway from starring in Marine Serre’s latest women’s show, singer Teyana Taylor is no stranger to high fashion on and off the runway. A street style regular, Taylor donned a linen and pearl ensemble to the Amiri show.

Fashion forwards as always, Miguel has cemented suiting as this season’s hottest menswear trend. The singer was seen front row at the Yohji Yamamoto show wearing a two piece suit (in this case, a vest and trousers, sans shirt), paired with a few pieces of understated jewelry right in line with the the boom of minimalism.

There is no doubt that Noah Cyrus has quickly become a fashion icon in her own right. Having also freshly walked the Marine Serre runway alongside Teyana Taylor, Cyrus was spotted front row at Yohji’s spring/summer show in a dramatic black trench, and even an more dramatic, wide-brimmed hat, fit for exactly the occasion.

South Korean rapper and producer Gemini was snapped front row at Amiri’s menswear show. Like the collection’s South of France lifestyle aesthetic, Gemini was seen sporting a light blue oversized suit in the Paris heat.

Caelan Moriarity, the 22-year-old Japanese pop group INTERSECTION band member, was seen on the streets of Paris donning this season’s latest trends. Dressed to the menswear nines, BTP captured the singer in a chic Amiri ensemble comprised of front pleated pants, and a fantasy-inspired toile jacket.

Always a top ticket in both streetstyle and collections, this season’s Sacai show was no exception. Singer and songwriter Rauw Alejandro (who happens to be engaged to singer Rosalia) was in attendance wearing an understated navy ensemble to compliment his turquoise hair.

No stranger to fashion, South Korean rapper BM has modeled for Boss, Balenciaga, Burberry and other luxury brands. This season, BTP snapped him at Sacai’s spring/summer show donning a characteristically ruffled cream bomber jacket by the brand.

Former GQ man of the year and South Korean based singer, Eric Nam, was spotted at this season’s Sacai show dressed in a full look by the designer. Matching with many other celebrity attendees, Sacai’s streetwear inspired collection saw a sea of bomber jackets spread across the front row.

Originating from Harlem, New York based celebrity stylist, Bloody Osiris is quickly becoming one of fashion’s most well known figures, both as a stylist and as style icon in his own right. Spotted at the Marine Serre show, Osiris brought his own spin to the designer’s characteristic streetwear.

Relatively new to the Paris fashion week scene, Japanese dancer and actor, Reno Sano’s smile lit up his street style pictures throughout the week. The actor was seen attending Kenzo, Pharrell’s Louis Vuitton debut, and Sacai this SS24 season.

Possibly one of the biggest purveyors of the avant-garde in menswear right now, singer Tommy Cash pulled out all the stops yet again at the Doublet show. While Doublet had models hoverboarding down the runways to warn against the dangers of AI, Tommy decided the best time to eat during fashion week might as well be on the go, bringing an entire dining set with him.

From overtaking TikTok with his lively OOTD videos, to landing a spot on the Balmain runway, Wisdm Kaye has quickly become a fashion industry darling. Never to disappoint with a look, Kaye was seen at this season’s Sacai SS24 Menswear show in a full textured red look featuring the brand’s classic bandana print and textile manipulation.

Model and influencer style duo Jun Chiu and Kiwi Lee are no strangers to flexing their coordinated couple’s looks throughout fashion week. this year, they were spotted attending the likes of Givenchy, Yohji Yamamoto, Kenzo, Sacai, even modeling in some of the designer’s campaigns.

Achraf Hakimi, PSG footballer, was spotted front row at this season’s Rhude show amongst other fellow athletes Kyle Kuzma and Daid Abala. True to the brand’s laid back lifestyle and aesthetic, Hakimi sported an open button down, opting to tie his jeans and tucked in perfect white-tee with a rope instead of a belt.

In an elegant and classically understated gray suited ensemble, Australian model Lara Worthington was snapped front row at this season’s Yohji Yamamoto show alongside her husband Sam Worthington who lead in this year’s earlier released Avatar: The Way of Water. Sam was dressed in a full nylon re-edition Prada suit, and the couple looked on picture perfect theme for a Yohji show.

With the men’s Spring/Summer 2024 season underway, a few notable trends and styles have already risen at the forefront. At first glance, the runways have seen a multitude of pockets, silk shirts, delicate halter-necks, along with the harmonious swapping of silhouettes across both men’s and womenswear, and still, even more pockets. This season’s runways have also delightfully played with proportion by emphasizing the hard exterior lines of a look’s outerwear while nurturing the delicate pieces, such as a deeply cut v-neck silk t-shirt, underneath. While “silent wealth” has been driven into the fashion-minded ad-nauseum, designers who might’ve been focused on more uniform styles in the last season or two seem to be coming up for air, playing with fanciful, albeit subtle, statement pieces alongside simpler bases meant for foundation-building.

Ahead, a rolling look at a few of the week’s biggest shows.

Celebrity friends, family, and gospel at Pharell’s highly anticipated Louis Vuitton debut

More than a year after former Louis Vuitton Creative Director Virgil Abloh’spassing, and following the brand’s most recent collaboratively and guest-designed menswear collections in the absence of a successor, the momentous day of recently named Creative Director Pharrell’s debut for Louis Vuitton marked the season’s open. The show, which took place on Pont Neuf overlooking a view of the Seine, called for top tier A-listers such as Rihanna, A$AP Rocky, Beyonce, Jay Z, Lewis Hamilton, Zendaya, and Tyler The Creator in attendance (front row, naturally) to support the musician-turned-head of Louis Vuitton. The collection featured Pharrell’s pixelated interpretation of the house’s signature checkerboard (while his interpretation modernizes previous pixelated iterations introduced by the house, the digitized print has been trending among other designers in recent seasons),alongside textiles inspired by the tonally-innovative artist, Henry James (notable painter of Cicely and Miles visit the Obamas). The BBC’s designer collaborations didn’t stop there — A massive billboard announcing Rihanna’s ambassadorship with the French house was shot by the iconic Keizō Kitajima, whose work is known for his emphasis on liveliness and motion —as fashion should be, too.

Rhude reimagines the riviera wardrobe

The season’s trend of pairing formal silhouettes with lighter materials was invigorated yet again at Rhude’s Spring/Summer show. Honing in on the brand’s interpretation of summer suiting, the collection centered heavily on botanical stripes, swim trunks, and outwear appropriate for more temperate summer conditions, except here, the riviera-bound looks were subverted by blending elements of the traditional tracksuit into its preppier cousin. Amid a sudden departure from the helm of Bally, and a lawsuit debacle in which a Rhude shareholder has accused designer Rhuigi Villaseñor of misappropriation of company funds for personal use, many were surprised to see the brand remain on the show schedule, but according to Vogue Runway, the designer was cool and collected backstage, focusing instead on other brand news, including growing the label beyond its menswear offering into a wider encompassing lifestyle brand.

Melancholy and minimalism at Rick Owens

Set in its usual spot outside Palais des Tokyo, Rick Owens kicked off its Spring/Summer 2024 menswear collection with its characteristic theatrics of towering metal structures and smoke filled air. Not one to shy away from addressing the melancholy in the world, the collection represented a somber and minimalist reflection on the designer’s own personal style and the fashion industry at large. In Owens’ personal show notes, he rejects the idea of extravagant destination shows — Rather than offering escapism, Owens aimed for glamour grounded in reality. The looks that stomped down the runway’s stairs (high-waisted trousers, cropped blazers, giant, padded boots reminiscent of ankle casts, and draped silhouettes alongside the brand’s signature razor-sharp shoulders) were somber, yet technically fascinating, allowing the showgoer and eventual consumer a secret fantasy of the up-close experience.

Amiri departs from denim

Like other historically street-wear heavy brands this season, Amiri relinquished some of its key house elements, such as heavy denim and graphic tees, in exchange for the lighter linen look. This time, the brand focused on light-hearted knits, distressed, yet simultaneously summary shorts, loafers, and large crocheted duffle bags fit for a holiday in the south of France. Meanwhile, feminine touches of decorative flowers sprinkled throughout the looks were a sartorial cherry on top. The cardigans layered over knit polos paired with front pleated trousers echoed an ‘80’s preppy culture referenced across a number of brands as of late. As a result, this season’s Amiri presentation was an introduction to a different lifestyle than the brand’s past.

Rhude reimagines the riviera wardrobe

The season’s trend of pairing formal silhouettes with lighter materials was invigorated yet again at Rhude’s Spring/Summer show. Honing in on the brand’s interpretation of summer suiting, the collection centered heavily on botanical stripes, swim trunks, and outwear appropriate for more temperate summer conditions, except here, the riviera-bound looks were subverted by blending elements of the traditional tracksuit into its preppier cousin. Amid a sudden departure from the helm of Bally, and a lawsuit debacle in which a Rhude shareholder has accused designer Rhuigi Villaseñor of misappropriation of company funds for personal use, many were surprised to see the brand remain on the show schedule, but according to Vogue Runway, the designer was cool and collected backstage, focusing instead on other brand news, including growing the label beyond its menswear offering into a wider encompassing lifestyle brand.

Melancholy and minimalism at Rick Owens

Set in its usual spot outside Palais des Tokyo, Rick Owens kicked off its Spring/Summer 2024 menswear collection with its characteristic theatrics of towering metal structures and smoke filled air. Not one to shy away from addressing the melancholy in the world, the collection represented a somber and minimalist reflection on the designer’s own personal style and the fashion industry at large. In Owens’ personal show notes, he rejects the idea of extravagant destination shows — Rather than offering escapism, Owens aimed for glamour grounded in reality. The looks that stomped down the runway’s stairs (high-waisted trousers, cropped blazers, giant, padded boots reminiscent of ankle casts, and draped silhouettes alongside the brand’s signature razor-sharp shoulders) were somber, yet technically fascinating, allowing the showgoer and eventual consumer a secret fantasy of the up-close experience.

Amiri departs from denim

Like other historically street-wear heavy brands this season, Amiri relinquished some of its key house elements, such as heavy denim and graphic tees, in exchange for the lighter linen look. This time, the brand focused on light-hearted knits, distressed, yet simultaneously summary shorts, loafers, and large crocheted duffle bags fit for a holiday in the south of France. Meanwhile, feminine touches of decorative flowers sprinkled throughout the looks were a sartorial cherry on top. The cardigans layered over knit polos paired with front pleated trousers echoed an ‘80’s preppy culture referenced across a number of brands as of late. As a result, this season’s Amiri presentation was an introduction to a different lifestyle than the brand’s past.

At Dior, Kim Jones returns to his roots

The show opening at Dior was an awe inspiring, theatrical one, in a futuristic, technology-infused kind of way. Models ascended from the floor out of camouflaged trap doors, donning Kim Jones’s most recent carousel of menswear items. The designer’s appointment at Dior came at the height of the luxury fashion streetwear boom, where he became instantly known for spearheading high-end, logo-centric collaborations between the French house and the likes of brands such as Nike and Rimowa. Within the past three seasons, however, as the luxury sector’s obsession with conspicuous consumption yet again peters out, Jones’ designs, too, have returned to an aesthetic not too dissimilar from his early creations under his own namesake brand in the early 2010s. This season, there were hardly any no logos in sight, granting attention instead to the collections pastel-washed, oversized suits, signature embroidered details, and electric pops of accessorized color.

Loewe plays with simplicity

It’s no doubt that between his namesake label and repeated success as creative director at Loewe, JW Anderson is fashion’s current darling child — and for good reason. Always refreshingly self-referential and on the pulse, Loewe’s latest reimagines Anderson’s geometric obsessions. While other creative directors are leaning into the ultimate simplicity, the Northern Irish designer’s subversion of classic outfit elements at Loewe (think unique spins on sweater hemlines, or the lapel on a blazer), allow the clothing to speak for itself, even if paired with with something as standard as Chelsea boots. Fittingly, the show’s coveted front row became home to some of the buggiest names in Hollywood at present, such as Brian Cox (Succession) and Troye Sivan (The Idol).

Kidsuper’s spectacle

Kid Super is no stranger to spectacle, excess, or outrageous design. His past collections have included pieces such as walking, transformable paintings and surrealist prints, while his shows are known to come in the form of mega-productions — Take an auction house, or comedy show, for instance. Even the designer’s Louis Vuitton collaboration show came with a surprise performance by Latin pop sensation Rosalía. But with spectacle comes disorganization, with Kid Super’s door has jokingly become known as one of the messiest doors at Paris Fashion Week. This season, however, attendee feedback indicates Kid Super’s show was marginally less than a massive disaster. Inside, Colm Dillane presented a 25-minute play that explored his shattered psyche. Unfortunately in comparison to past performances, this method was neither coherent enough to display the clothes, nor entertaining enough to excuse the lack of fashion. That being said, the collection, though scattered, was still characteristically Kid Super – Upbeat, a little off kilter, and undoubtedly Dillane.

Marine Serre paints a bigger future for our apocalyptic wonder-kid

Packed to the brim, even the standing sections at
Marine Serre were spilling over the barricades — an indication, if there is any, that a given show is one to pay attention to. Showgoers craned their necks to get a glimpse of the powerhouse lineup taking the runway, including Noah Cyrus, Teyana Taylor, and Brooke Candy. Ever the buzzy affair, and stars such as singer Tommy Cash (covered in hair from head to toe, not unlike Cousin It from The Addams Family) were in attendance. Marine Serre, who is a vocal climate activist, has often been known for her gloomier aesthetic with past shows even depicting oil spills. This season, though the collection heavily focused still on using primarily up-cycled materials (a brand signature), presented a much brighter and cheerier color palette.

At Doublet, athleisure is in, but walking is out

This season, the Tokyo-based brand looked toward the murky future driven by AI. According to the show notes, also auto-generated by a computer, the collection explores rejecting the past, and looking instead toward the jumbled idea of creativity in the future, a non-foreign theme to many brands offering art as a contemplative warning about our increasing use of the artificial intelligence technology. This manifested in the clothing through digitally generated prints, casual tracksuits for the consumer sitting behind the computer, and hoverboards gliding down the runway for when humanity relies on technology so entirely that we no longer walk to show off our clothes.

The Cannes Film Festival, commencing annually since 1946 primarily at the Palais des Festivals et des Congrès, is the culmination of all things film and extravagance. This year, attendees and onlookers alike had their sights set on the unveiling of titles such as Killers of the Flower Moon (attached to names such as Martin Scorsese and Leonardo DiCaprio), Wes Anderson’s Asteroid City, and The Weeknd, Sam Levinson and Lily Rose-Depp’s The Idol. However, like any fete that brings together the who’s who of the film and entertainment industries, festivities continue on well beyond sundown thanks to a slew of under wraps, invite-only parties — Naomi Campbell’s big birthday bash (which the model has often coincided with the festival since 2015) ranking high on the list.

The BOSS-hosted event began first with a private dinner, later giving way to a sumptuous grounds that reverberated with the sounds of afrobeats while overlooking the sparkling city of Cannes (For a while, the secluded dinner continued below). Among the partygoers, Frida Aasen and her heeled squad were spotted sashaying into the villa entrance, a green-feather and snake skin-donning Kate Beckinsale was spotted with close friend Vas J Morgan, while pals of the Kar-Jenner clan Anastasia Karanikolaou and Victoria Villarroel snapped photos together. Later, the private dinner concluded with an auction as mounds of guests poured in, and the lower-level finally opened to a pool view where Naomi posed amid a sea of flashing bulbs with Eva Herzigova, Irina Shayk and Helena Christenson.

In a custom BOSS gown, the woman of the hour, who had gathered said group of high profile guests to celebrate her 53rd birthday glided up the staircase alongside her stylist Jenke Tailly Ahmed to join friends, family and colleagues, welcoming much of the tight crowd with even tighter hugs. Upstairs, Riccardo Tisci (outfitted in an ensemble best and delightfully described as a combination of tuxedo and baseball) rushed past while model Precious Lee touched up Stella Maxwell’s lipgloss for a waiting photographer. Future, led naturally by an entourage, made his way down to the open bar and Edward Enninful looked on adoringly as Naomi rushed inside for a wardrobe change, emerging shortly thereafter in a white dress and sneakers.

Later, the announcement of a birthday surprise for Campbell summoned the night’s party goers to a video screen near the DJ console, where the likes of P. Diddy, DJ Khaled, and Carla Bruni wished a tearful Campbell a happy birthday, lit up by the glow of party lights and iPhone flashes. As the revered supermodel made her way to a closed off VIP area, Alton Mason was spotted hitting the dance floor with a group of It-girls, and Leonardo DiCaprio was seen being led through the crowd by a scrum of bodyguards. Finally, pizza was served to guests at the ripe time of 3 A.M., and those who stuck it out until the end danced until near dawn.

The 2023 annual Cannes film festival may have officially wrapped, but a number of noteworthy happenings have kept whisperings of the days-long affair afloat. Home to one of the most prestigious celebrations of film in the industry, where a slew of upcoming projects are unveiled, the festival is known for summoning some of Hollywood and beyond’s most recognizable actors to its red carpets, such as Leonardo DiCaprio, Anne Hathaway, and Scarlett Johansson, to name a few. Even still, one of the most anticipated appearances was that of TV newcomer, BLACKPINK’s Jennie Kim, who descended upon the sunny shores of the French Riviera for the Cannes premiere of Sam Levinson’s new and already controversial show The Idol.

Amid the HBO original’s drama-fueled rollout, (marked by accusations of regressive misogyny and gross sexism allegedly at the hands of Levinson and lead star Abel (The Weeknd) Tesfaye), Kim’s arrival welcomed a different kind of attention, the drama instead fueled by a stunningly angelic Chanel look, a brand for which the K-pop star has been a global and house ambassador since 2017. The midi dress of white lace with corseted bodice and tulle hem came with an atmosphere of elegance, while a black hair ribbon and black peep toes embellished with bows, nodded to Kim’s signature sweetheart aesthetic. Together, the look makes for Kim’s second major moment with Chanel this year, following her Met Gala debut.

Also joining Kim on the carpet for one of the biggest nights of the Cannes festival week was Lily Rose-Depp, set to lead the The Idol alongside The Weeknd, outfitted in a sequined, black Chanel Fall/Winter 1994 mini dress. Complete with blue and teal rosettes, sheer opera gloves, black tights and black pumps, the ensemble was one that saw Rose-Depp lean into the essence of her scandalous on-screen role as Jocelyn (a performance already being described as riveting, though the show’s screening concluded to a Rotten Tomatoes critic rating of 9 percent). Later, at a press conference, Rose-Depp went on to label the accusations aimed at her co-star and the show’s director false.

The Weeknd’s carpet getup was a classic one — a Loewe tuxedo — perhaps in an effort to keep a lower profile that evening, or as low as one at his level of stardom can keep ahead of the first viewing of his already critically panned project. He did, however, opt for a statement on the wrist, donning a nearly $300 thousand women’s Piaget Limelight Gala watch, notably featuring 624 diamonds and 156 yellow sapphires. All in all, the unexpected trio made for a highly speculated, yet quiet entrance and exit to and from France, and if anything, it only made some more intrigued about what’s to come when the show finally makes its big release. The Idol premieres on HBO & MAX on June 4th.