Designer duo Mary-Kate and Ashley Olsen presented their Fall Winter 2020 collection during New York Fashion Week, at the Greenwich Street studio. This marked The Row’s 10th anniversary of their first New York Fashion Week show. An installation of sculptures by Beverly Pepper—an American artist who worked in stone, corten steel, and iron, served as a backdrop for the effortless and minimalist collection.
Gigi Hadid opened the show in a gray three-piece suit, elbow-length gloves, and leather slippers. The lineup was a characteristically sleek run of tailoring – remarkable for its lightness and ease; layers upon layers of slouching, tonal elegance executed with the painstaking finesse that imbues every facet of the brand. Check out the amazing lineup below.
Australian designer Dion Lee has debuted his Fall/Winter 2020 collection at New York Fashion Week featuring his signature technical aesthetic and innovative construction. Along with his new pieces, the designer featured a selection of jewelry on the runway spanning from earrings, necklaces and chain-link constructions found throughout the men’s and women’s collection. Lee told Vogue:
“The collection started with this idea of incorporating jewelry elements into the clothes. I found this chain for myself that I have been wearing for the past year… [it informed the development of] a custom chain that moves between the jewelry, bags, shoes and into the clothes, used to gather fabric, to control pleating and to bring in the silhouettes in places.”
The presentation extended throughout each floor of The Shed in New York where the models descended down the elevators showcasing the latest designs. Dresses, shirts, jackets and other silhouettes arrived in a range of textures and tonal color palettes, as well as indigo tie-dye techniques. Lingerie-inspired corsetry has been incorporated into the women’s collection altering its restrictive fabric by using softer materials like jersey.
On Oct. 9, Thai designers took the LA Fashion Week runway at the Petersen Automative Museum in Los Angeles’ Miracle Mile district. The Royal Thai Consulate – General and the Team Thailand debuted an exciting line up of their talented and innovative Thai fashion designers including: Landmee Forever, Kanapot Aunsorn, Salisa Official and Renim Project.
Landmee joined LA Fashion Week for the first time and debuted an amazing new collection of ’80s inspired party dresses. The ’80s vibes were all over the lineup with exaggerated shoulders, ruffles, bows, silhouettes and with the background music “Another One Bites the Dust” by the British rock band Queen. One of the standout looks was the green velvet mini dress.
Landmee is a high fashion contemporary label designed by Netdaw Vattanasimakon, creative director & artist, she knows how to make edgy fashion for any occasion. Landmee’s focus has always been creating stunning looks for women that want to SLAY, why fit in when you were born to stand out is their motto. Check out some of the best looks from Landmee Spring Summer 2020 collection below.
At the Cour Carrée of the Louvre Museum in Paris, Nicolas Ghesquière staged his Spring Summer 2020 collection for Louis Vuitton, against a stripped back set.
Dominating the space was a digital wall, projecting the artist Sophie’s 2017 music video “It’s Okay To Cry” in a version specially made for the occasion in collaboration with Woodkid.
Nicolas Ghesquière turned to the Belle Époque, the culturally rich period spanning the turn of the 20th century up until World War I – as the starting point for his newest collection for Louis Vuitton. As a time of great excitement and tremendous change, it also saw the founding of Louis Vuitton, the building of the family’s Art Nouveau home in Asnières, as well as the Maison’s first travels around the world. Today, for his Spring-Summer 2020 Collection, the Artistic Director of Women’s Collections circles back to the pleasures of sartorial protocol, a certain kind of dandyism that blends styles and genres.
Harking back to the fundamentals of romanticism and transposing Art Nouveau onto clothing, Ghesquière construes a community that celebrates the enthusiasm of singularity. In this spirit, the collection adopts the evocative cattleya orchid as a sort of signature, worn on the lapel like the fanciful symbol of ultimate refinement. Louis Vuitton picks up the thread of its own history and brings together two nascent centuries, the dream-like dawn of the 20th century and the 21st century that yearns to remember it.
The romantic rooftops of Paris served as a fitting look-out point for Virginie Viard to unveil her first ready-to-wear collection for Chanel.
Created in the Grand Palais with chimneys sourced from flea markets, the set was one in which a modern-day Mary Poppins would have looked perfectly at home. “The roofs of Paris remind me of the atmosphere of the Nouvelle Vague I saw silhouettes walking on the roofs” noted Viard, in her collection notes.
The collection was appropriately cinematic, with fluid silhouettes, jackets with flounce and masculine tailoring among the most photogenic looks.
Swinging black kilts worn with opaque tights, neat bouclé jackets, long-line coats and Chanel’s take on the pillbox hat created a new-look Chanel oozing with Gallic glamour. Stand-out pieces included an ivory puffball skirt worn by Kaia Gerber. Gigi Hadid was also on the catwalk in black micro shorts and embroidered jacket. Chanel has a new-found modernity and subtle femininity in Viard’s hands. But it has continuity too.
Her rise from long-standing Chanel employee and the right hand of Karl Lagerfeld up until his death from cancer earlier this year represents no sea change for the brand. As a result, Viard’s collections have a quiet confidence that can only stem from experience. Her success will depend on whether she can breathe her own spirit into this house.
With Anthony Vaccarello at the helm of the label, YSL showcased its Spring/Summer 2020 collection last night in front of a gorgeous Parisian backdrop.
This year the Parisian label erected a runway complete with light beams opposite the Eiffel Tower at night, turning the show into one of the biggest events during the week.
As for the collection Anthony Vaccarello took inspiration from what Yves Saint Laurent created throughout the 20th century and channeled it into a modern and contemporary design. Taking on the classic Le Smoking suits, Vaccarello brought back tailoring, shape and cut-offs in the SS20 collection.
Applying his signature rock-inspired aesthetic, the range saw an experiment of materials which ranged from pleated lamé skirts to chiffon blouses, as well as chic necklines, sexy silhouettes and Western-like boots. Tailored jackets and short shorts dominated the range, as well as gorgeous materials and opulent embroidery, emphasizing Saint Laurent’s luxury yet wearable aesthetic. Of course, we also saw party-ready dresses and sequin-clad pieces in true Vaccarello fashion.
All in all, the Spring/Summer 2020 range was a softer take on the signature rocker-chic aesthetic that Anthony Vaccarello has applied to Saint Laurent, with softer silhouettes and materials taking the spotlight. Consisting of a total of 87 looks, the collection was closed off by none other than Naomi Campbell, who wore a sequin two-piece suit that glittered in the spotlights.
The lineup signifies the arrival of a new Gucci aesthetic, with models forgoing quirky, geeky styling for sultrier silhouettes with kinky details. In contrast to the opening looks, the collection presents “fashion as a way to allow people to walk through fields of possibilities, cultivate beauty, make diversity sacrosanct and celebrate the self in expression and identity.”
Filled with hard-to-miss nods to Tom Ford-era Gucci, the catwalk saw a number of sheer lace dresses with thigh-high slits paired with monogrammed panties underneath. The “G” metal emblem, resembling that of the house’s ’90s G-string designs, was placed around the neck, across the chest or on the thigh like garters. Models wore bralettes and tops with plunging necklines, and were accessorized with BDSM-esque chokers, leather gloves, retro sunglasses attached with oversized chains and studded handbags. Many even carried whips and floggers in their hands as they walked down the runway.
Scroll through the gallery to see the entire Gucci SS20 show.
It’s been 20 years since Jennifer Lopez and THAT jungle print dress melted the internet. And on Friday in Milan the superstar sent Instagram into overdrive by dusting off the iconic number to close the Versace catwalk. It was – as they say in fashion land – a moment.
The revival of the Jungle Dress didn’t end with the one worn by JLo. On the catwalk, the lush motif was splashed across cotton parkas, trouser suits and denim mini skirts, while a corresponding crystal embellishment adorned work shirts and handbags. A series of shimmering sequin cocktail dresses inspired by the print also looked set to appeal to Versace’s party-loving peacocks who may or may not be old enough to remember the dress’s first outing.
Aside from the limelight-loving palm print, the LBD was also a signature of Versace’s spring/summer 20 offering and provided the show with some of its strongest looks. Among them, Kendall Jenner’s micro-mini, Bella Hadid’s belted pinafore and Gigi’s torso-flashing jersey dress. Black leather was also a mainstay. See Edie Campbell’s biker jacket for more details.
Perhaps even more shocking addition to the catwalk than last night’s surprise guest – albeit, one less photographed – was a flat shoe. From perspex slides to gladiator sandals and bejewelled trainers, Versace said that the more casual inclusions (which also included denim) were designed to appeal to widen the brand’s appeal.
“It’s not for one woman, it’s for every woman,” said the designer, whilst, of course, clad in her signature six inch heels. There was no shortage of vertiginous versions to keep Donatella-ites happy too, including strappy spike stilettos and razor-sharp courts.
Jeremy Scott presented Moschino’s Spring Summer 2020 collection in Milan. “Muses inspire artists, and artists inspire the world,” said Scott. Riffing on the idea that the model is a canvas and clothing can be wearable art, there was a decidedly Pablo Picasso lean to the offering. Several cocktail dresses were shaped like guitars and mandolins, including one worn by Kaia Gerber, which called to mind the artist’s Cubist renderings. Others including Bella Hadid – dressed in a sequin ruffle clown-suit invoking Picasso’s Harlequin – also carried miniature string instruments down the catwalk.
There was a Spanish essence throughout too, from Matador-inspired bolero dresses to polka-dot flamenco gowns. Proportion was also paramount, with supersize structured shoulders and poufy puffball skirts abundant.
But while Scott knows that a picture is worth a thousand words – and in generation Instagram, countless more Likes – this show wasn’t just about showstoppers designed to get iPhone cameras clicking.
Ever the astute businessman – Moschino’s parent company Aeffe, which also owns Alberta Ferretti, reported a rise in net profits of 46 per cent last year with Moschino contributing 72 per cent of the group’s total revenues – Scott was also careful to consider what would translate into retail. As a result, trouser suits decorated with hand-painted prints and a little black dress accessorised with a miniature picture frame brooch were among the collection’s – albeit more subtle – stand out pieces.
Yesterday in Milan, British designer Daniel Lee unveiled his sophomore collection for Bottega Veneta in a showcase which served to cement a new modern era for the Italian label.
Long renowned as a bastion of stealth wealth thanks to its half-century heritage as a luxury leather specialist, the 32-year-old has been successful in injecting a youthful, agenda-setting sense of relevance to the house since his arrival in July last year.
His debut collection, which was unveiled in February, was chock full of distinctive new-gen hits including square toe padded mules and leather pouch bags which have proven a regular sighting on front rows this month.
There was an evolution of this for next season, with his reworking of the signature intrecciato weave into a squishy shoe strap now among his calling cards. A pair of glitterball pumps joined them, along with huge sack-like holdalls worn across the body and chain strap shoulder bags both bearing the house weave in lieu of any logos.
Denim, pineapple print silk scarves worn as halterneck tops and cargo-pocket short suits were also among the new staples, as well as chainmail slips and asymmetric ribbed knit dresses. But leather was the star of the show, appearing in unexpected ways such as a sky blue statement greatcoat or a short tailored jumpsuit to shake up your workwear.