Category: Uncategorized

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.

It wasn’t long ago that the internet had, seemingly all at once, turned wildly and vocally against “millennial style,” the style of dress popularized by freshly out-of-college grads in the mid-2010s, and deemed identifiable by a few key items — namely leggings as pants, skinny jeans and peplum tops. As the Y2K-McBling resurgence peaked, so too did the disdain for the quintessential “yo-pro” aesthetic, and suddenly, looking a little too put together became, for lack of a better word, kind of lame. Now as the resurgence of early aughts fashion fades into the background, as the story of the pendulum swing goes, runways and street style alike reveal that young adults are dusting off their pencil skirts and kitten heels, and taking semi-business casual ‘fits to the club again.

While skinny jeans and side parts remain deemed temporarily uncool, the trending notion of building a “forever wardrobe” filled with timeless investment pieces (a familiar sentiment now heightened by the recession), seems to play a part in encouraging the mid-2010s aesthetic revival. As the first and last generation to experience life pre and post-internet during the formative time of youth, it makes sense to see their interests take a reflexive approach to the nostalgia of their own generation in comparison to generations past.

These days, there’s no better indication of a looming trend (if only micro) than what the industry’s It-girls are wearing out and about. Julia Fox, confirmed millennial who has managed to win over Gen Z, pointedly brought back statement belts this past Fashion Week, albeit in a much more sultry way than we may have seen in the past. Zendaya, awarded CFDA’s 2021 Fashion Icon Award, wore a Louis Vuitton backless suit vest and pleated trouser on the Cinemecon Red Carpet in April. Florence Pugh, recently appointed Valentino ambassador, sported rockstud bags and heels in a new campaign, while Gal Gadot, new ambassador of Tiffany’s feted the brand’s new NYC cafe in a full Sportmax suited look. Even Ryan Gosling has been seen returning to his roots in skinny jeans and graphic tees.

Designers such as Bottega Veneta and Prada have concentrated on ways to produce collections that encourage timeless classics that may be refreshed and punctuated by a seasonal accessory. Other youthful designers such as Johnathon Anderson of JW Anderson and Loewe have also embraced this notion whether it be the viral balloon heels or the furry shoes seen across the runways of brands such as Heron Preston, Gucci, and Burberry. In relation to the increased sightings of peplum tops both on and off the runways, trend forecaster Maragret Blatz tells Beyond The Pines, “When the consumer spends this amount of money, it’s not to look too trendy or too dainty, it’s to add an item that makes them feel confident in their high-low wardrobe.” Even Dries Van Noten successfully reinvigorated the idea of a skirt over a pair of tailored trousers.

Lyst’s quarterly Fashion Index confirms these trends (or indicators of the “end of trends,” as they call them) don’t just exist in the vacuum of TikTok discourse. For instance, Miu Miu, which revolutionized statement prints in the mid-2010s with its iconic swallow- printed dresses and matching wedges ended the quarter in the number one slot. Then, Burberry, at number 15, made a popular comeback with Daniel Lee’s debut collection, which honored the traditions of the heritage house and Christopher Bailey, seemingly erasing the last five years of the Tisci-streetwear era that the brand underwent. More parallels can be drawn between recent item-specific trends and some of the most prominent markers of 2010s style. In 2023, the fanny pack became Uniqlo’s coveted round shoulder mini, the floral maxi skirt is now the ever-trending denim style, Adidas’ signature Stan Smith sneaker gave way to the Adidas Gazelles, and so on.

The underlying commonality to this aesthetic shift emphasizes an economic scarcity and longevity that the millennial generation has become accustomed to through the major events such as the 2008 recession, which defined a time when much of this subset was entering the workforce burdened with student loans in an unemployable and crumbling market. In turn, the clothes they look to purchase today often aren’t the temporary, virality-driven fashion of the internet’s accelerating overconsumption culture. “As Millennials come into the prime age and economic bracket to purchase luxury goods,” Blatz says, “They are going to be more wary of treating themselves. When they do, it’s nice to feel like the piece stands out from the rest of [their] wardrobe, and isn’t just another flash trend that doesn’t fit.”

In comparison to previous eras of nostalgic resurgence in fashion, which can be seen in the industry’s obsession with archival regurgitation from the past five years, the subtle shift to buying new clothing for now, and forever, idealizes a similar concept to the elusive and mythological “25-piece” capsule wardrobe that dominated the idea of feminine dressing in the mid-2010s, emphasizing functionality punctuated by personal flair. The irony is, because of this style’s longevity, skinny jeans as their counterparts were never totally written off by (most) millennials, The rest of the internet has just finally come back around.

The past few months in fashion have been but an exodus of sorts of tenured creative directors from their posts at the helms of their respective appointed luxury houses — Namely, Alessandro Michele’s departure from the head of Gucci, Jeremy Scott’s from Moschino, and Serhat Isik’s and Benjamin A. Huseby’s from Trussardi. Without a heralded, and perhaps too celebrity-driven, name at the helm of a storied luxury house, critics and audiences alike are wondering what exactly can make a brand, in both its community and design, organically successful without relying on the now oversaturated pleas for virality and big budget ambassadorships. Amongst this celebrity Creative Director exodus and decline in luxury one-off collaboration drops, many are wondering what successfully contributes to building a successfully authentic brand identity? Moreover, how does this shifting landscape affect those who work in and around fashion and the way that non-industry patrons choose to consume their media du-jour?

In recent examples, some of the reactions from industry professionals and enthusiasts alike to Gucci’s Fall/Winter 2023 season (its womenswear collection especially caused quite the stir on all sides of the fashion polycule) indicated a widespread appreciation for (relatively) stripped down collections rooted in design choices that felt motivated first by brand identity. Designed, sans creative director, by an internal team on the heels of Michele’s departure, the presentation unveils a new Gucci identity that, while a bit confusing at some points, more importantly distanced itself from the former reign of floral romance that was the brand under Michele. While the former Gucci woman was overtly eccentric and romantic, many agreed the new Gucci woman was a breath of fresh air because she represented the present day consumer — one who is loosely thrown together, and on-the-go, not necessarily one who dons the Oscar-ready gowns of Michele’s era.

In the larger cultural zeitgeist, this collective shift manifests in more ways than one, perhaps the most prominent of which being the change in attitude toward social media post-pandemic. By and large, users are favoring a more authentic and casual experience online over the hyper-curated nature of the late 2010s. The result? — The explosion of TikTok (the antithesis of a polished and curated online presence), BeReal, the app that empowers its users to capture a moment as-is, the rise of the weird-girl aesthetic, a Gen Z-heralded style of dress wherein nothing matches (intentionally so), and the return of indie sleaze, a 2010s era characterized by a seemingly effortlessly cool undoness. The industry saw a similar theme sweep the runways as well, emphasizing a new It-girl who’s shrouded in a bit of pre-internet-era anonymity, or she at least has a private instagram. Perhaps, then, brands themselves can take a bit of inspiration from the woman they create — Writer Scarlett Newman shares the idea with Beyond the Pines that while virality is an incredibly obvious way for brands to make money, and social media isn’t going anywhere, perhaps “if a brand can rearrange its priorities to not be so outwardly-focused, the values, authenticity, and output can realign, and we can return to great art.”

The aftermath of the aforementioned Gucci collection’s debut was just as telling of the current climate as the collection itself. Generally, when a megastar designer leaves a brand, the biggest controversy around the brand’s succeeding collection is, well, the collection itself. However, in the case of Gucci’s first show post-Michele, there was a bigger reaction to the arrangement of the show’s seated audience than the clothes —The runway, which was staged like a ‘70s conversation pit, featured an inner circle of seats where mostly traditional fashion influencers sat. It’s worth noting, of course, that dividing a runway seating chart into press, buyers, VIP clients, and celebrities isn’t new, (an assistant buyer probably won’t be seated in front of ASAP Rocky, and Anna Wintour will likely be seated front row with the swiftest exit plan), however, over on Twitter, veteran writer and fashion critic Vanessa Friedman shared a photo of the set, and poked fun at the implication of an “inner circle” for those who have successfully capitalized on posting photos of themselves as virtual mannequins. What Friedman pointed out with the tweet was brand’s emphasis on influencer and celebrity relations, but it’s the internet’s reaction to her tongue and cheek that reveals so much more about the remainder of the industry’s yearning for authenticity. There was a general consensus in the replies and surrounding discourse that the tone of the post was “bitter,” indicating that many OG-influencers-turned-industry veterans are still fighting to prove their worth in fashion. While many took this viral comment to offense, Friedman most likely intended to point to how influencer marketing often feels inorganic, much like an incredibly awkward celebrity cameo in a superbowl commercial — You know they’re only there because they’re getting paid (or benefiting in some way).

The transition of power in fashion’s media is an ever-evolving animal that seems to only change when the method of storytelling does as well. Editors were replaced by bloggers, bloggers by influencers, and influencers now by what? In a conversation with BTP, Commentator Rian Phin (@thatadult), links the fall of the traditional Instagram influencer to general overconsumption. Even with fashion’s recent attempt at branding its media as “de-influencing,” the shopping culture that sky-rocketed so many people’s fashion careers over the last decade is, in the end, responsible for its own role in consumer fatigue. Phin adds that the proliferation of influencers has “made a lot of audiences uncomfortable with the ambiguity of what ‘authenticity’ even means anymore.” Ironically, the more transparent an influencer tries to be, the more likely they are to be called out for being “out of touch.” The consensus seems to be that one can’t quite critique the system while actively enabling it for personal gain.

Newman explains, “It’s not a secret that the relationships between influencers and brands are super transactional. And I think that’s because that type of relationship is also very transparent, the luster doesn’t exist. We know that both parties are benefiting greatly from whatever this is, but where is the story?” With the expansion of access and content that new social media platforms now bring, the audience also craves an expanded idea of storytelling from the ground up – the idea, to the sketch, to the production, to the show.

This is not all to say that the industry is a looming cloud of aloof demi-celebrities and failing brands. There are many, usually smaller, non-conglomerate designers who are accomplishing this so-called white whale of authenticity. Take, for example, Luar, which now holds the coveted closing slot at NYFW, yet still opts against gifting major celebrities its now famous “Ana Bag,” or as Phin notes, brands such as Helena Eisenhart, Telfar, and Heaven, all of whom connect with local artisans and communities to collectively bring together a vision driven by organic artistic passion. It seems the current climate no longer leaves room for brands interested only in an overtly transactional relationship with its supporters, and perhaps, for the first time in years, “luxury lifestyle” brands will be forced to evaluate what they can offer besides a sale.

Immediately following New York Fashion Week, the industry’s most prestigious luminaries converged, as per usual, upon the vibrant streets of London to witness art and culture intertwine on the runway. Home to long-standing brands such as Burberry and Vivienne Westwood, amid newer designers such as Chet Lo and KNWLS, London Fashion Week unveils some of the most talented and experimental designers in the industry. Even still, sometimes it’s the diverse fashion choices of show attendees (influencers, editors, models and celebrities alike) that often steal the spotlight, and set the tone for upcoming trends.

Perhaps the most omnipresent trend at London Fashion Week was the continued resurgence of 2010s fashion (don’t worry — Y2K is still having its moment). Then, feminine and masculine silhouettes dominated as one, the color red put Barbie pink to shame, and flip-flops have re-entered the chat.

Ahead, here are 10 street style trends from London Fashion Week that are guaranteed to maintain their supremacy well into the fall season.

POPPY RED

PHOTO: @lindseyholland_

In the wake of the sensational surge of Barbie pink last summer, its sultrier counterpart — a vibrant red — has slowly trickled into prominence, particularly since leaving an indelible mark on the Spring/Summer 2023 runway, courtesy of designers such as Alexander McQueen, Valentino and Ferragamo. Whether skillfully woven into an ensemble of neutrals for a subtle pop, or boldly used as a striking statement piece, the hue was splattered across the streets of London for a healthy dose of color.

MAXI SKIRTS

PHOTO: @GRACECARTER

Thanks to their versatility as a transitional piece, maxi skirts have asserted their dominance in the closets of fashion influencers alike. Whether crafted from denim or lace, bearing ruffles, or embracing a sheer aesthetic, this season’s street style only confirms the garment as an essential wardrobe staple.

CHUNKY BELTS

PHOTO: @COUTUREKULTEN

Rising alongside the maxi skirt trend are chunky belts, its right-hand pairing piece. From wide, suede numbers to studded belts that add an edgy flair to even a delicate knit, today’s fashionably inclined are finding a number of ways to modernize the early aughts trend no one thought would return.

BALLET FLATS

PHOTO: @HOLLIEMERCEDES

It’s not a well-kept secret that ballet flats have made a triumphant return, with Sandy Liang’s Spring/Summer 2023 collection largely to thank. Of the style’s many iterations, from satin slip-ons, to studded Mary Jane’s, it is currently bedazzled styles experiencing a remarkable resurgence, particularly those that come in a sleek and alluring black.

PLAID KILTS

PHOTO: @LONDISGOODS

Signatures of more than one popular brands out of the UK, Londonders are no strangers to borrowing historical plaid prints. As of recent, ediger, modern iterations are redefining what it means to recycle trends — bagpipes not included.

PEPLUM TOPS

PHOTO: @GRECEGHANEM

A more controversial case of the return of 2010s style, peplum tops are also enjoying their revival this fashion season. Case in point, seen here is a Masha Popova denim top paired and cargo shorts, paired aptly with silver accessories.

SUITED DRESSES

PHOTO: @SONJALEIGH_

The trend of artfully blending masculine and feminine silhouettes has steadily gained momentum, and may have reached a crescendo with the return of fall fashion. These two styles often bridge the gap between formal and casual wear, giving a new meaning to versatility.

FLIP FLOPS

PHOTO: @MORGANEMAURICE

Beach run or barefoot luxury? Whether you want to admit it or not, the flip-flop effortlessly completes any outfit for a relaxed and laid-back look. During fashion week, the barely there footwear was paired with not sundresses, but tailored jackets or trousers pants for an elevated twist.

PUFFER JACKETS

PHOTO: @ROMILUX

Puffer jackets have remained a fashion staple for ages, their enduring popularity lying in their ability to exude effortless chicness season after season. Most recently, designers have updated the classic style with dramatic maxi options, blanket silhouettes, and oversized shapes, leaving fashion-forward individuals inclined to style the coldweather garment whether warranted by the temperature or not.

TULLE FABRICS

PHOTO: @KLAUDIACLOUD

Once reserved for the most hyper feminine of styles, designers’ exploration of the lightweight, sheer fabric has found its way into various aspects of contemporary fashion, offering a versatile medium for creating ethereal, romantic, and even edgy looks.

When the last few years are, one day, referenced as the distant past, there will always be, through the lens of fashion (among many others, of course) before and after 2020. The latter has, up until now, been characterized largely by two sartorial shifts: one that prioritized comfort and, contrarily, one that prioritized expression. Now, with a recession looming, designers understand consumers are shopping for pieces built, and aestheticized, to last. Enter: a handful of Fall 2023 collections to commence the shift.

On the runways, said scaling back manifested itself differently from one designer to another. Some traded color for neutrals, while others forwent another print-heavy collection. For others, it was more of a shift in attitude — A maturation, a refining of silhouettes, with some brands even dedicating an entire collection to the working woman, or taking special care to introduce its offering to that woman. Meanwhile, a subset of designers teetered the line of both worlds — fun, but versatile; safe, but intriguing; staple, but not without a hint of statement. In some way, both ends of the spectrum are accurate depictions of the zeitgeist. To pull back from the hyper maximalism of season’s past was inevitable, but if fashion is mirroring the state of a generation that’s, in such little time, endured one culture and society-shifting event after another, reverting back to the prim and polished (so to loosely speak) is a slow, non-linear process.

Ahead, more on the trends defining the Fall 2023 season.

DARK, ROMANTIC LACE

PHOTO: ALESSANDRA RICH

“Skin is in” has been the phrase seemingly on the drawing boards of a plethora of designers for a number of seasons now. Traveling from cut outs, to nostalgic mini skirts, then to sensual, sheer fabrics, see-through, lace is the latest iteration of the trend to sweep the runways. It comes mostly with hints of Victorian inspiration in dark hues such as that of the balloon-sleeve dresses at Frederick Anderson and high-neck gowns at House of Aama. Other designers, such as Anna Sui and Rodarte offered up mixed media styles that paired black lace with silk fabrics for an end result that, with nods to nightgowns, ended up as romantic as they were dark. Then, some designers subverted the idea of lingerie as outerwear entirely, with Wiederhoeft using sequins to create the look of a lace bra, underwear and garter being embroidered onto a sequined shift dress, while at Fendi, the actual front panel of a lace and satin cami gown was layered onto the front of a button-down collared dress.

TAILORING

PHOTO: GUCCI

With the general consensus that minimalism is back buzzing around the fashion community, an emphasis on tailoring at houses where such elements had recently taken a back seat is perhaps a tell-tale sign. Sharp shoulders made an unexpected appearance at Diesel (a blazer and skirt suit set with denim trompe-l’oeil extends an invite to the customer looking for experimental workwear), Prada and Miu Miu simultaneously pivoted from mini skirts, cropped tops and sheer dresses to collections focusing primarily on suits, everyday cardigans and good outerwear, and at Balenciaga’s first presentation post-controversy featured 12 looks on its front-end that focused on tailoring alone. The switch indicates that even if the luxury customer is shopping smarter on the brink of a recession, it’ll be in extremely posh taste .

FRINGE

PHOTO: MICHAEL KORS

As the Y2K rebirth nears its inevitable end, the resurgence of the 2010s on the runway introduces itself as an equally polarizing trend. Skinny jeans beg to re-enter the trend cycle, while an ongoing “will they / won’t they” discourse surrounds what looks to be the resurrection of the peplum, and on the Fall 2023 runways, fringe was the most prevalent trend of fashion’s past to reappear. Brands such as Roberto Cavalli and Jason Wu were purveyors of the most true-to-form, bohemian-in-nature variations of the style, while knit maxi dresses and skirts at with wide, flat fringes at Michael Kors and Proenza Schouler feel like modern takes on the trend that are more likely to result in a consumer hit.

LEATHER SETS

PHOTO: BRANDON MAXWELL

Fashion so often operates with a pendulum-like swing, and how designers have navigated leather and denim in recent years makes a solid example. There’s no denying that, amid the 2000s revival, innovative denim took priority on the runways over clean leather (think Diesel, Y/Project and Blumarine), but as fashion enters a period of refinement where the classics take the front seat, there’s room again for leather pants, and thus leather sets, to reign. Just ask Coach, Brandon Maxwell and Elena Velez.

NODS TO PUNK

PHOTO: BURBERRY

Even on the brink of a minimalist revolution, many aren’t ready to let go of the spirit of blissful undoneness or the current moment in fashion, brought on by way of styles inspired by the ‘90s, early aughts and the indie sleaze era. Some of the brands opting against stripping down completely this season took the moment to pile on punk references instead (in many ways, it feels like the natural progression from the niche micro trend of rockstar-girlfriend dressing). Moschino’s latest presentation was a full on ‘80s punk affair, with everything from leather moto dresses and maxi skirts, to chain belts and faux-hawks dotting the runway, while Daniel Lee’s debut at Burberry saw the brand take a (posh, but) grungey turn, subverting its classic check print (usually a palatable tan) to darker violets, greens and reds, and pairing it with baggy, graphic-printed crewnecks. There were hints of pink inspiration at others as well, such as studded leather accessories at Blumarine, and dark plaid paired with tulle or fishnets at Maison Margiela.

PERFORATED PRINTS

PHOTO: VALENTINO

A few seasons ago, and for a long while, a number of the most visible fashion trends were heavily print and color-driven. For instance, Bottega Veneta’s green, nostalgic psychedelic prints, and the list goes on. Now, in the name of more uniform options, designers are pivoting to more versatile ways to create visual elements that stand out, such as shape and silhouette. This manifested on the runways this season with “perforation print,” wherein designers created patterns in their garments using a hole punch-like technique. Already recent signatures of brands such as Off-White and Maisie Wilen, the style picked up more classic adopters as well, such as Valentino (there was a diamond-holed maxi cardigan at its Fall 2023 show) and Gucci (a black pencil skirt with crystal-rimmed, teardrop cutouts).

NECKTIES

PHOTO: DAVID KOMA

Lately, the lines drawn between womens and menswear blur further with each passing season, the biggest example across various Fall 2023 collections being the crossover of the necktie. It’s a trend spilling over into three major happenings in current fashion: The Wednesday-effect (the black and white school-girl costume design of Netflix’s hit Jenna Ortega-led Addam’s Family spin-off no doubt had a palpable effect on Gen-Z fashion, now regurgitated on the runways), returning to the basics (what’s more classic than a suit and tie?), and the industry’s ever-evolving reckoning with de-gendering clothes.

TIGHTS

PHOTO: COPERNI

Novelty pieces created with no regard for cost-per-wear may be seeing their way out of the spotlight to make room for fashion staples, but just as “in” as those staples is the idea of accessorizing them. Most especially, with tights. There was no shortage of designers making a case for the idea that the legs are the greatest real estate for upping the interest-factor of a given outfit — Coperni styled bright red tights under a brown fur coat and mini dresses; Miu Miu’s roundup of colored tights included an aqua blue, burgundy, lime green and salmon pink; Gucci’s, a true purple, a powder blue, orange, red, bubblegum pink, and a highlighter green; Meanwhile, there were fishnets from a number of designers this season, including Dilara Findikoglu and Moschino.

FLORAL APPLIQUÉ

PHOTO: YUHAN WANG

One might note that while runway collections remain seasonally labeled, styles and trends that were once reserved for fall often find their way into offerings for spring, and vice versa. Emphasis on 3D floral appliqués, for example, might be most expected in the springtime, but it turns out they’re one of the more prevalent markers of the upcoming fall season, according to the runways. A romantic, almost campy, feminine and subtly maximal trend fronted largely in recent seasons by brands such as Blumarine and Magda Butrym, this season saw it explode in a different way. There was a tulle tank, striped with 3D flowers at Tia Adeola, floral nipples at Nensi Dojaka, and David Koma, and Puppets and Puppets (all of which happened to be red), and knit briefs with giant, bulging roses at Yuhan Wang. Jil Sander’s idea of the trend was more elevated, with a sheer maxi dress covered in ivory flowers, and a rich cape coat with brilliant floral cutouts.

THE MICRO BRA

PHOTO: VAQUERA

If recent trends such as briefs, mini skirts that are actually belts, belts that are actually tops, and jeans that are actually handbags — just to name a few — are any indication, today’s fashion isn’t always rooted in practicality (and whether it’s for art’s sake or for speculation’s sake remains a different question). Case in point: Micro bras were omnipresent on the runways this season. Gucci and Kim Shui presented styles incorporating bedazzled versions of their respective logos. Midway through GCDS’s collection, a tiny, bow-nippled bra peaked out of a tweed blazer, with a leather pencil skirt on bottom. And at Vaquera, a strapless, cone-shaped silk mini bra and silk trousers opened the Vaquera show. Though little else is, how the trend will translate to mass-wear is still left to the imagination.

Across New York, London, Milan and Paris, designers — most of whom have recently presented well-received Fall/Winter 2023 collections — are still coming down from the bi-annual whirlwind that is Fashion Month, this time, one that largely embraced a new minimalist and statement-chic aesthetic. However, like all fashion months, just as there were sartorial hits, there were the season’s fair share of misses as well, sparking, healthy debates across fashion aficionados. As collections from Paris Fashion Week are still being digested, debates around what design and presentation tricks read as gimmicks versus which didn’t (an ongoing “discourse” largely initiated by Rachel Tashjian’s Harper’s Bazaar review of Coperni’s spray-on dress during the Spring 2023 season) continues, and as we explore how fashion may develop alongside the competition of technological advancements and artificial intelligent design, this season’s revival of true investment pieces was refreshing in comparison.

Courreges engaged with similar ideas this season, illustrating the vanity-driven void behind our daily performances often both aided in and masked by our addiction to technology. The show’s opening look featured a model scrolling on her phone, face lit by its LED screen, which was heightened by the set’s (initially) darkened atmosphere. She is us, tethered to the item that she uses to light her way through the void. More models paraded the runway emerging from fog with large, circular mirrored jewelry that resembled the hide and seek we play with our reflection when we inhabit our clothing.

On the other hand, this season brought back a once lost attitude of the “ladies who lunch,” and successfully reimagined the boundaries of the often discussed inconspicuous consumption across diverse identities. In Milan, Matthieu Blazy’s Bottega Veneta was among the strongest examples of this (the collection allows the designer’s blank slate of potential consumers to engage with his fashions and, if they choose to do so, subsequently aspire to the dream — and pieces — he sells), but in Paris, Anthony Vacarello’s was impressive as well. The head of Saint Laurent appeared to have taken a step back from a sequined aesthetic reminiscent of Celine, and provided instead, a collection overflowing with dramatic statement outerwear and Roald Dahl-esque angular expression. The success in this collection lies in the fact that the idea of this woman already exists from days gone by — Her software is merely being rebooted and updated to translate these ideas into our modern time

Then, it’d be remiss to forgo acknowledging the success of Miu Miu’s intellectual expression this season. Miuccia Prada is no stranger to operating on both sides of the feminine identity, and toes the line ingeniously. In contrast to the viral, barely-there mini skirts born from the brand’s Spring 2022 collection, its latest offering is one of simplistic, and aesthetically sustainable elements — inspiration we can find within the clothing we already own. It was not a design-driven collection, though it appropriately referenced plenty of Miu Miu’s successful house codes. Rather, it was simply a fresh reimagination of styling wardrobe staples (granted, bedazzled briefs in green, pink and champagne hues were widely talked about points of the collection online, too).

The overall sentiment this season felt emotionally motivated in a way that is distinctly different from the repetitive archive regurgitation of the past few years. As we return to the momentarily paused idea of simple glamor and reduced, but aspirational consumption, designers allowed us a moment of reflection to rediscover design concepts so familiar to us once before.

While emerging designers took home the proverbial trophy of New York and London Fashion Weeks, many with grungy undertones, experimental twists, or, in the case of some such as Area and Collina Strada, an outright wacky and off-kilter flair, Milan Fashion Week’s legacy houses made a case for delectably wearable fashion.

On the heels of an economic recession, collections from brands such as Bottega and Prada indicate that designers are privy to the notion that customers may have an inclination toward versatile, long-lasting clothing this time around, in lieu of hyper-trendy styles that will only go viral on social media before disappearing. Even brands such as Gucci and Moschino presented collections that were about as near pared down as the respective houses get, while brands such as Diesel and Blumarine decided, for the most part, to move forward with what present day fans know and love. Other highlights of the week include the latest from Mattheiu Blazy’s Bottega Veneta, and designer Maximilian Davis’ second collection for Ferragamo (both of which proved winners).

Ahead, these were some of the best shows of Milan Fashion Week.

DIESEL

“Diesel Day,” as fashion aficionados have dubbed the brand’s show date on the Milan Fashion Week calendar, has, since Glenn Martens’ runway debut at the house in early 2022, become a highlight of sorts of Milan Fashion Week. The designer’s latest at the helm of the Italian entity proves consistency is key. Set, yet again, amid a vast red backdrop (this time, a mound of 200,000 unopened condoms was the art installation at the set’s center, not so subtly giving way to a Diesel x Durex partnership), Martens presented a collection consciously in line with the design choices that has won fashion over thus far, with just enough reimagination. The manipulation of denim continues to be a key theme — There were frayed jackets, pants and dresses with sheer panels, and denim puffers. The most memorable point of the collection sees a series of looks plastered in bold graphics — close ups of the fanged smiles of models in bold blues, yellows and reds reminiscent of pop art. While many designers are collectively paring down, Martens makes yet another case for denim-fueled maximalism.

ROBERTO CAVALLI

Fausto Puglisi’s most recent work at Roberto Cavalli (the brand’s Resort 2023, Spring 2023 and Pre-Fall 2023 collections) at large seems to speak to a more mature Cavalli customer, one concerned with kaftans, full coverage gowns, wool coats, cut-outs on occasion and a sense of simplicity (at least as simple as Cavalli gets) when in the event that the brand’s signature animal print isn’t present. For fall, Puglisi is paying a visit to the archives, and the result is one that will undoubtedly be Gen-Z approved. Between low-rise leather pants and velvet-lined kimonos, the collection successfully dances the line between Y2K and boho. There were a number of design tricks midway through – flared trousers that were denim, velvet and a sheer material all at once, a pair of multi-wash jeans with a mosaic-like motif, and meanwhile, other styles appeared to be made of silk, but printed with denim-mimicking graphics, and blended in seamlessly. What followed was a string of looks centered on a black, bohemian-gothic lace. While a prominent Fall 2023 trend (if not the most so), the styles hark back to early 2000s Cavalli, too. Especially so with the brands that ruled fashion’s past, everything is cyclical, indeed.

PRADA

Hardly a house to venture too far from sensibility in the first place, Prada’s fall collection was one that was wearable through and through, almost feeling like a workwear collection (Raf Simmons did tell journalists backstage that this collection was one of reinterpreting traditional uniforms, hence the utility references and the like). Standouts include two pebbled leather skirt suits (one, cement gray, and one, fire truck red), boxy, faded suede blazers, and what felt like more wearable, trainless versions of the brand’s fan-favorite Spring 2022 skirts. Then, there was what Raf called a take on wedding attire — a few white skirts with floral appliqué, because it’s not quite Prada without a touch of playfulness.

BLUMARINE

Nicola Brognano may have been a bit heavy headed on the repetition this season (look too quickly and the first 16 looks of Blumarine’s Fall 2023 presentation could almost be mistaken for the same two or three looks restyled multiple times). It did, however, successfully usher in what may be its hero pieces, or at the very least, refreshing elements it was interesting to see the designer expand on, namely shearling bustiers, mini skirts and jackets. Since his knockout debut collection at the brand, Brognano’s image of the Blumarine woman seems to shift ever so carefully — one season, she’s matured, the next she’s returned to a playful purveyor of the mcbling era’s greatest hits. With the second half of this collection marked by the brand’s now signature draped silhouettes in jersey and knit fabrics and earth tones, if not entirely illustrative of a customer as mature as last fall this time, Blumarine fans will enjoy that this is collection is mostly practical, for the smart dresser who keeps a few trendy tricks under her shearling-trimmed sleeve.

MOSCHINO

Moschino’s latest collection is by far not Jeremy Scott’s most animated (there were no pool floaty hemlines or giant baby bottle props), but fans of Salvador Dalí’s The Persistence of Memory may draw some similarities between the 1931 painting and the first 17 or so looks from the collection as Scott created “dripping” silhouettes reminiscent of that of the clocks in the famous art piece. There were skirt sets and dresses made to mimic tweed in a way that was either very Chanel or very Moschino, but its prints, hemlines and even buttons were warped as if in a melting state. Then, while a few brands (I.e. Burberry, Blumarine) hinted at a punk theme this season, Moschino left no second guesses as fishnets, faux mohawks, studded chokers and takes on the leather moto jacket consumed the near rest of the runway.

FERRAGAMO

Young talent is the future of luxury fashion, as 27-year-old Maximilian Davis proves with his second collection at the head of Ferragamo. It’s one that balances staying true to the house and its customer, while simultaneously providing a fresh perspective. Having already received praise from the tuned in collective, Ferragamo and Davis is a union that seems to be working. The collection was mostly mild in color palette, save for pops of yellow and red, and silhouettes were pretty controlled (another collection fit for the working woman, though there were luxurious takes on athleisure as well). Where Davis shined were the particular details at a second glance — a sculptural heel here, a deliciously oversized handbag there, and perhaps where the designer is his strongest, all around immaculate tailoring.

GCDS

GCDS’ Fall 2023 show was a social media hit, whether it was its star-studded front row (reels and TikToks of Dua Lipa attending in a black lace dress made its rounds), or its set (models trekked down a runway in front of a giant, spooky-eyed cat head), or the collection itself. As for the clothes, designer Giuliano Calza made it abundantly clear, neckties for women are in. Calza expanded on this idea over 43 looks, the first, a leather skirt set with a biker flair that’s sure to be a bestseller, then came a series of pinstripe workwear and academia-core looks. Three models bearing a yellow zebra print provided a segue into the collection’s next section, which felt like reimaginations on the traditional tuxedo. Then, Calza played with ties paired with black and pink tweed before circling back to another section of yellow where the most exciting elements were the fuzzy, knit fabric used. If Calza has hit the nail on the head, school is most definitely in session for fall.

GUCCI

Gucci may be in between Creative Directors (Alessandro Michele announced his departure from the Italian house in December, and his successor Sabato de Sarno isn’t due to present his first collection until its Spring 2024 collection), but the collection produced by its design team this season turned out to be one of its most exciting as of recent. It’s a breath of fresh air from Michele’s (enjoyable) wackiness and, with references to Gucci under the Creative Direction of Tom Ford, it comes with just enough nostalgia to add excitement to the contemporary. Slender pencil skirts felt unmistakably 2000s, while a chrome puffer skirt felt futuristic. There were loads of references to the sexed-up nature that was Gucci under Tom Ford as well — The top in look one was only but a teeny tiny chainmail logo bra, to start. Most of the chatter around the collection was in regards to the return of a certain 2004 horsebit shoulder bag (this time, some are puffer-fied). Pulling out the old stops has, yet again, proven successful.

BOTTEGA VENETA

Mattheiu Blazy is already a crowd favorite. Just four shows into his tenure at Bottega, he has a reputation among what seems to be the majority as a designer that just makes plain good clothes. In a fashion climate wherein brand collaborations, celebrity partnerships, and viral gimmicks reign, Brazy extracts intrigue from clothes that are simply for the everyday (at least for the Bottega client), and it’s an impressive feat. This collection felt as though Blazy were looking to no trend forecasts, instead nearly each piece is something the wearer can imagine in their closets forever — Skirt suits with structured leather waists, ostrich leather button down tops, a pair of balloon trousers. It seems no recent Bottega collection is complete, however, without a touch of Blazy’s leather manipulation. The designer opened his first collection as the house’s Creative Director with a white tank top and a pair of jeans that each turned out to be leather imitating cotton, and the look has been reimagined to appear in each of his collections since, including this one (see: the finale look). The designer’s latest trick of the eye was a pair of cable knit slipper boots that were also actually leather, proving that Blazy knows how to take every corner of the wardrobe to the utmost point of luxury.

After a week of one satisfying show after another, it can finally be said that New York Fashion Week is back. Many have (perhaps prematurely) branded the last few seasons as the bi-annual event’s big “comeback” (truthfully more aptly attributed to the uptick in in-person shows than heaps of novelty and innovation), but this season brought a particular new strain of chic, American clothing back to the forefront of our minds. Independent, U.S.-based designers such as Wiederhoft and Head of State spearheaded the week while brands such as Heron Preston (though not at all a new kid on the block) put on its first-ever show. Some designers basked in the conceptual, while others signaled a return to a more practical way of dressing ahead. Alongside a few of the industry’s more impressive mainstay designers, it was the emerging brands that wowed enthusiasts most this time around.

Ahead, here’s a look at some of the best collections.

Collina Strada puts a spin on animal chic

This season, New York Fashion Week’s darling child kicked off the shows with an intimate set in the unopened THC Museum in Soho. Quite the trek up five flights of stairs, influencers, press, and celebrities alike (many of whom not equipped with the appropriate footwear) squeezed through to watch Hillary Taymour’s Fall 2023 wild zoo. The clothes were inherently Collina-coded, but lacked a bit of her familiar youth and vibrant energy. Most models sported animal prosthetics, and reptiles, deer, and dogs slithered, skipped, and crawled down the runway (resulting in some of the most social media-circulated imagery of the week). In the midst of a multi-season debate of what constitutes a successful runway “gimmick,” the extraneous animal parts were unfortunately a distraction from the collection, leaving the viewers remembering the performance before the individual garments themselves.

Brunch with Puppets & Puppets

Talk about having your cake (or eggs? and cookies?) and eating it, too. Puppets and Puppets, the funky, New York-based come to popular attention for its 3D cookie handbags, opted to
put on a “brunch”-inspired runway show. Spaghetti, cake, and loose fruit dotted the center of the runway, in line with the collection’s signature food-accessorized pieces. This season beckoned a stand out collection for the emerging brand; its pieces retained their cheeky, food-fueled satire
with fried egg bralettes and banana-handled bags, while balancing impressively wearable pieces that presented a welcomed commercial shift for the brand’s ready-to-wear.

Willy Chavarria leads the reset on menswear

Menswear-focused brand Willy Chavarria has effectively redefined the New York uniform, and it’s not the stiff-suited behavior of the city’s (and Chavarria’s) Ralph-Lauren past. His exaggerated suits feature wide-set lapels and relaxed flowing fabric that move with the body as it power-walks down the street. Having become a designer to watch over the last couple of seasons, Chavarria’s designs draw from his Mexican-American heritage, with stand-out details including oversized accent flowers and delicate skirting that balances out sculptural tops.

Luar takes the closing spot

Fun, refreshing, and powerful, Luar now occupies the closing slot of New York Fashion Week, and, once experienced, it’s easy to see why an invitation to the brand’s show has become so coveted. An audience of friends, family and Luar’s community, attendees couldn’t help but enthuse as they saw their own friends sporting Raul’s newest looks down a mirror and camera-filled runway. Some coats sported the signature Luar chest strap while other suited looks introduced an updated take — a bondage-inspired, full chest strap that also bound the model’s arms to their sides. Juxtaposed against exaggerated, tall shoulders, the latter accurately captured contemporary anxieties while all else invoked the glamor of the fashion fantasy.

Campy bridal and boudoir glam at Wiederhoeft

Once an if-you-know-you-know cult gem, the VIP list for Wiederhoeft’s latest show demonstrated its newfound star power with names such as Jada Essence Hall and Julia Fox among those who sat front row in anticipation for what proved to be a showcase to remember. Set in the St. Patrick’s youth center in Soho, both the audience and cast were made up of Wiederhoeft’s chosen family. The designer, who primarily focuses on bridal designing during the ready-to-wear season, used emotive choreography throughout the show in a way that emphasized the movement of his gowns rather than distracting from them. From afar, the drop beading and screen prints of lingerie and Saint Sebastian were sharp and editorial; up close, and shown under a brilliant spotlight, the quality of construction stood up to par and were some of the strongest points of an impressively original
collection.

Elena Velez challenges femininity

Elena Velez’ Fall 2023 collection succeeds at depicting modern femininity. Part of the designer’s instinctual appeal comes from the clear intention behind her casting, sourcing, and design. Amongst runways that either tokenize inclusivity or ignore it completely, Velez casts openly from the New York City streets. Her pieces are often familiar, but apocalyptic — a glimpse into what may lie ahead for contemporary womanhood. It simultaneously asks the question of whether or not womanhood is already here, echoed by the modernity of oversized, protective outerwear and barely-there, torn dresses.

Head of State — A peep show, a shower, and a powerful cast

New York-based designer Taofeek Abijako of Head of State is best known for his success on the Met Gala red carpet and recent IMDB page, but near the tail end of fashion week, the brand proposed a beautiful take on fall ready-to-wear. The tiered, green gown in look #33, sported by New York model and DJ, Oyinda, was one of the alluring pieces of the collection. Tulle button-downs, corseted suits and skirts on men just scratches the surface of the beautiful brand identity that is ushering in a new definition of American formalwear.

Casey Cadwallader took the lead at Mugler with the French house’s Fall 2018 presentation, but it wasn’t until its Spring 2020 collection that the American designer’s sartorial point of view resonated with fans of the brand in a strong way. With top industry figures such as Bella Hadid often at the center of his showcases, Cadwallader’s Mugler has become something of a cool-girl synonym, ushering in other It-girls such as Megan Thee Stallion, Dua Lipa, and Kylie Jenner as muses. There are likely a complicated number of reasons the brand pivoted to lookbooks and hadn’t shown on the runway after the Spring 2021 season until now (the pandemic was heightened at the time, alongside the passing of founder Thierry Mugler’s January 2022 passing), but its return to the catwalk is one fashion devotees had been eagerly awaiting. Ever one for a showdown, Cadwallader elected to unveil Mugler’s latest collection at the prestigious cultural complex, La Villette, at the tail-end of Paris Haute Couture Fashion Week.

While Cadwallader has spoken about being hesitant about returning to the runway in recent seasons, the designer did produce a trilogy of short films (read: virtual shows) produced during the pandemic. The pumped up productions each delivered a new collection from the brand by way of elaborate special effects and celeb-filled cameos. After such experimentation, Cadwallader says he knew his comeback to the runway couldn’t be commenced with traditional formatting. and decided to collide rolling film alongside the catwalk. As a result, models showcased the brand’s Fall 2023 collection perched atop a moving camera stand, and it was a format that allowed models to experiment with artistry and variation. Sure not to steer too far from tradition, the moving platform was demonstrated alongside a staired runway.

A masterful display of signature Mugler codes, the collection balances leather detailing, architectural shapes, and lace trimming as its biggest themes. Then, there were lace-wrapped sleeves and tights complemented with form-fitting corsetry and layered négligée — looks that were both parts gothic and discomposingly feminine. Accented futuristic cuts on broad-shouldered biker jackets, billowing leather chaps, and zipper-lined gloves all offered a bit of dimension over the more delicate fabrications. One of the most notable touches to the 36-look collection — the introduction of the house’s inaugural handbag, the Spiral Curve 01.

While there was only one plus-sized model on the runway, Thursday’s show otherwise boasted the diversity that has become synonymous with Mugler since Thierry Mugler’s early tenure. This time, American comedian, Ziwe, made her modeling debut (the model donned a lacy black ensemble, a coordinating gloved bolero, a denim mini skirt, and knee-high leather boots). The lineup also included the likes of Dominique Jackson, boundary-pushing musician Arca, Paloma Elsesser, and runway royalty, Amber Valletta, Eva Herzigova, and Debra Shaw.

Since its inception, Thierry Mugler’s runway shows have remained spectacular to be seen, the late designer always having had a masterful understanding of theatrical production. With many of his latest presentations, but notably this one, it’s these integral values of the brand that Cadwallader continues to uphold.

Consider this past Wednesday, the unveiling of the indomitable Haider Ackermann x Jean Paul Gaultier Couture collaboration, fashion’s own Superbowl. Since Gaultier’s final couture blowout in February 2020, the enfant terrible has employed a rotating system of iconic designers to take a seat at the house’s table, revisiting and reinventing some of his most beloved designs. Enter, Ackermann’s interpretation of the brand for the 2023 couture season — it’s the fourth installment of the series, succeeding Olivier Rousteing of Balmain, Glenn Martens of Y/Project and Diesel, and Chitose Abe of Sacai. Each show has proven successful since the start of this experiment, with many regarding this style of collaboration as one that promotes an organic home for joyful creativity, a touch commercially driven logo-on-logo drop collaborations often lack.

A feat to be witnessed by the likes of Timothee Chalamet, Tilda Swinton, and Baz Luhrman in the crowd, Ackermann’s creative spin on classic Gaultier did not disappoint — So much so that fans were making red carpet pull predictions before the show was even over. What shined about Ackermann’s take on Gaultier was the designer’s simple, yet beautiful editing. With a non-distracting, subdued set, and subtle music, it was Ackermann’s impeccable tailoring and signature color-blocking that commanded attention, with just 36 looks.

One highlight of the collaboration was the flawless merging of both Ackermann’s and Gaultier’s house codes, wherein the former’s loved design quirks melded seamlessly with the latter’s history of emphasis on suiting and corsetry. Each look, whether it was a barely-there ribboned gown, or a ‘60s-inspired amorphous violet dress, expressed a modern, formally independent woman. These designs represent two sides of the same coin by demonstrating the razor sharp edges of a woman’s sexual expression in her own terms, without fetishization. The integrity of this expression offered a refreshing pause to the over-stylized Y2K looks that have dominated the runways, and our social media feeds, for nearly two years now.

Ackermann also made sure to pay tribute to some of Gaultier’s more “pop” designs, with model Amelia Gray making her couture runway debut donning a metallic JPG Liberte top and cape, accented by a citrus green lining. Another standout piece, one that remained true to Gaultier’s affinity for subversion and forced design perspective, was a lavender tracksuit covered in a metallic material almost made to mimic fur — the fluffy-appearing attributes were, in fact, individual metal pins that used light refraction to create the illusion of soft movement on the runway. Many arm-chair critics noted Chalamet’s joyous reaction to this look (the actor has proven an affinity for track pants), and added it to a running list of predictions of the star’s future red carpet looks.

If there were any questions as to how Gaultier himself received the collection, one simply had to scan the audience during its live stream to see the designer’s beaming expression as each piece hit the runway. There is something incredibly endearing and deferential in seeing Gaultier relinquish the reins and observe his own house from the seated audience. Too often, egos and commercialism disrupt creation, and the respect paid between Ackermann and Gaultier, demonstrated as the pair joined hands on the runway at the show’s close, is a model of collaboration to admire. Even as the fast-paced industry looks forward to the next Jean Paul Gaultier couture collaborator announcement, this uniting is one that will be remembered fondly for quite some time.