Love in Lisbon with Galia Lahav

By Andrea Arjento

Galia Lahav’s head designer Sharon Sever took on Lisbon at it’s most clear and most enigmatic and unfurled a set of gowns worthy for a torrid love affair that is their inspiration. While it may seem counter-intuitive to have bridal gowns as an homage to torrid love affairs on paper, the reality is all love affairs worth writing about has a certain element of torrid-ness to it. And Sharon is able to weave that element of variability into a fairytale that looks wonderfully complex and elegant. This specific collection has all the signature Galia Lahav details but in many ways, it is also the most realistic exploration of the fairytales we tell ourselves. And for that, we are in love with Galia Lahav's Lisbon collection.

Diane von Furstenberg's Pioneer Women

by Olivia Moreau

Diane von Furstenberg's spring collection is a homage to a different kind of pioneer women than the wild west. It is more of a concept as opposed to an historical repeat. The women trailblazer are the pioneer women in DVF's eyes. And this homage is partly based on what they would wear now and partly based on the 'homely' and humble aspect of life as a woman. It is a product of DVF's inherent and uncanny ability to mix cultural shifts into traditionalism. From the softened color palette to outright mixture of prints, this collection stands out. 

The Unveiling of Jonathan Cohen

by Sylvia Stoss

It is almost a surprise to find out that Jonathan Cohen has never shown during NYFW. In his first outing on the famed but subdued platform, Jonathan did what he does best...mesmerize his clientele with outright levity. From lean dresses with botanical prints to structured mini in a rainbow all came with the customary JC look. The raw edges, the oversized sleeves are always there but JC's work has evolved into truly encapsulating the many colorful facets of being a modern woman in these times. As almost a countermeasure to negative colors JC poured all the colors of the spectrum into his collection and our eyes and our sense of style are thankful for it. 

Burberry's Generational Inclusivity with Riccardo Tisci

by Lana Hamid

Burberry has always been the favorite of traditionalists. Before Riccardo Tisci’s arrival it was a brand that was most comfortable within the realm of uptight sophistication and occasional burst of legacy obsession. To call Burberry (pre-Tisci) boring would have been a bit harsh but accurate. That label is wearing off with each collection Tisci is producing. In his second full collection Tisci takes on the generational divide and bridges them with traditional and non-traditiional silhouettes, clever infusion of color and above all an imposing collection of the rebirth of Burberry 2.0. The rigidity is now complemented by fluidity, the beige icons are complement by blue and red. And the traditionalists and the avant-garde-ists are both equally represented as a happy medium. Re-inventing Burberry is harder than it looks but the ease to which Tisci has gone about dismantling the cobwebs of comfort into a frenzy of dynamism is worth admiring, applauding and above replicating.

Narciso Rodriguez and the Gravity of Symmetry

by Lotus Ladegaard

Narciso Rodriguez launched his eponymous label in 1997. The Fashion House has had its ups and downs but nevertheless prevailed with much acclaim and success in a highly competitive industry. Over the years, he has gained a loyal following with celebrities and fashionistas around the globe. With his eye for simple yet intricate details, cuts and materials, he represents a somewhat more mature and evolved take on fashion.

Last year, Narciso chose to forego New York Fashion Week and his absence was certainly noticed and felt, but the Cuban designer has concentrated and focussed on what is most important to his Fashion House; the customers.

For Fall 2020, Narciso Rodriguez presented an intriguing and exquisite collection, much in line with the brand’s DNA. His eye for subtle yet contrasting details, cuts and materials made for a very sellable collection that is bound to excite fashionistas and fashion editors alike. His color palette was simple with colors of the season mixed with classic black and white and a few prints. The silhouettes varied from sleek to easy-to-wear and with a little twist to almost every style. The collection featured many stand out style such as the short-sleeved coat with cape effect at the back, and the camel draped dress and trousers styled with a burgundy jacket. Pieces like the black dress with blush details at the sides and front along with the fitted black dress with visible seams and mesh back were exquisite. Another showstopper was the black-draped fitted dress over a pair of black trousers. The many subtle details added a little extra to each of his styles and made for a very beautiful collection that is bound to do well. At first sight, the collection might not have the greatest appeal, however, at a second glance, it is absolutely exquisite, intriguing and feminine.

Fendi and it's Faustian Bargain

by Olivia Moreau

Fendi loves the decadent.  Fendi is decadent. From Ribbon and Pearls to Macramé lace to fil coupé, silk jacquard, 3-D knit, Shibori-inlaid and intarsia mink, and laser-cut eyelet, Fendi unleashed a collection oozing with class and decadence. Decadence not to be mixed with the decadence of Donald Trump's golden toilet or something equally obnoxious and vapid but decadence that appeals and overwhelms our sense of aesthetics casually yet leaves a formative sense of longing. Fendi's collection is uniquely Fendi...free, liberating, expansive, elegant and above all, ahead of the curve. 

Vera Wang's Un-Traditionalism

by Anita Monroe

Purists be damned…Vera Wang is pushing the envelope in directions in bridal wear we haven’t seen in a century. Despite taking her inspiration from the Sun King, the avant-garde aesthetics she has been pushing is relentless, modern and above all entirely her own. Unlike the rest of the bridal market, Vera Wang’s work has no derivatives but her own. And this collection is an extension of her previous collection and you can see the grand mosaic of her work slowly building up to a crescendo. It is light, it is forward thinking and above all it is Vera Wang.

Carolina Herrera and the Love of the Old-Fashioned

by Olivia Moreau

Carolina Herrera's bridal collection this fall goes back to the roots of bridal collections. By rejecting any superfluous notion of trend dictating aesthetics in bridalwear Carolina moves into the rarefied territory of a designer completely comfortable with who she is and where she wants to move her brand. Sheer, Light, White and very elegantly sowed together each piece took us back to the traditional aesthetics of bridal wear. The practical aspect of Carolina's collection is never overshadowed by fantasy or elements of whimsy, and she holds that line like the pro she is. 

The Soft Whispers of Marchesa

by Olivia Moreau

Marchesa has always been ethereal, and full of feminine glory. This collection is no different and we are thankful for that. The delicate dance between ruffles and sheer, the love affair between tone and lines are all present in Marchesa’s Spring collection. The torrent of negative attention that almost sunk the brand seems like a distant memory or may be it is just an escape from the realities that still await Marchesa. It is still a polished and quietly confident collection that knows its limits and its appeal.

The Origami of Osman

by Lotus Ladegaard

Behind the fashion label known for its architectural and structural aesthetics that flatter and celebrate the female body is British born Osman Yousefzada, who first met the world of fashion through his mother’s couture dressmaking business. After graduating Central Saint Martins, he established his eponymous fashion house, in 2008, and quickly became noticed as one of London’s exciting designer talents. But Osman Yousefzada is much more than a designer, he is an artist who does not settle for a single media, but master quite a few. Each year, the artist publishes the Collective, a cross-disciplinary publication drawing on Osman’s friends, fellow artists and other creatives.

For Resort 2019, Osman has created an exciting and bold collection that will wow his fans and win over new territory. It is fresh, contemporary and features a whole line of stand-out looks. The colour palette had a little bit of everything from black and white to prints, gold and metallic. The silhouettes were interesting and detailed like the tiered ruffled pieces, a little black dress and the outerwear. A silver sequined dress was among the stand-outs as well as a fantastic easy-to-wear coat in gold print. Osman had also made room for some delicate and romantic crepe-de-chine separates that are easy to mix and match like the black and white sheer skirts. Among the more edgier pieces was a black pilot leather jacket with open sleeves for the rock’n’roll fashionista and a great athleisure look with slacks and knitted cardigan that would look great for many occasions. Several of the outerwear was editorial and rather exquisite, it was tailored, feminine and with plenty of movement, it will appeal to many types of women regardless of age and body type.

Osman has created a wonderful Resort 2019 collection and it is easy to spot his talent and unique eye. His designs are relevant, bold and artistic, just like Osman himself.
 

The Unflinching Identity of Alaia

by Moon Wilson

Azzedine Alaïa’s Alaia is never unsure of its identity. The posthumous designers maison has been producing work that is both true to his original vision and the expanded narrative it provides. From tight to loose silhouettes the form and function are fully embraced in this collection. A sense of whimsy in the form of flowy dresses, come hither neckline are built on top of that architecture of form and function. Alaia embraces the soft corners of femininity but also provides the basis for a bit of everything from traditionalism to avant-garde. The end result is a collection that may not suit one singular narrative but each look is built with one self sustaining storyline.

Tomo Koizumi's Ruffled Genius

By Cara Livingstone

Tomo Koizumi’s path to NYFW has been probably the most magical in terms of introduction to impact. Plucked from relative obscurity by Katie Grand, his ascent to the pantheons of NY fashion has been an interesting exploration of celebrity culture and the power of such cultural trends to dictate aesthetic pleasures for the masses (or at least the New York IT crowd). So Koizumi’s second collection presented during NYFW this cycle came with an added novelty and a bit of dread of falling into a sense of manufactured genius.

Koizumi deftly bypassed all that American Idiol-esque shortcuts that brought him here and produced quite possibly one of the most outstanding exploration of ruffled fabric. With hundreds of meters of ruffled Japanese polyester organza, utilized with only one zipper, his work spoke volumes of his genius. It was almost like finding out that an American idol winner is actually David Bowie in drag.

The beauty of the layered ruffles along with a sense of levity of his costumes (they cannot be classified as everyday wear), made Tomo Koizumi’s second collection devoid of novelty and brimming with genius.

Osman and the perfect 10

by Cara Livingstone 

Osman Yousefzada is the fashion insider to the fashion forward. Finding Osman's work in high-End Galleries to Red Carpet to Supreme Court, should not be a shock as his vision is universal as it is tailored for his muses. His now famous "Perfect Five" concept is 2 years old and has fully permeated his art. While that modular system is ingenious due to its simplicity, his more complex work from the exposition of sunbursts to red hats are what really stands out in his pre-fall collection. And let us not forget the gold shoes... they are the statement piece that truly completes this collection.  The extraordinary ease to which Osman has been crafting away complex ideas in a singular narrative is admirable and his pre-fall collection does justice to his talent. 

4 Independent Designers to Watch in 2023 and Beyond

by Olivia Moreau

THEBE MAGUGU

2021 International Woolmark Prize finalist Thebe Magugu grew up in the city of Kimberley in South Africa’s Northern Cape, where his passion for design began at an early age from watching broadcasts of Paris and New York fashion weeks. After studying at LISOF, where he won best graduate collection, he launched his eponymous label two years later and went on to win the prestigious LVMH prize in 2019. The emerging label is part of MATCHESFASHION’s Innovators Programme, which supports pioneering talent. Based in Johannesburg, the designer sources from local suppliers, artisans and factories to produce his ready-to-wear offering, inspired by his South African heritage and Africa’s storied history.

OLF by Omi

Renowned fashion photographer, visual artist, and an all-around-force-of-nature Omi have outdone himself (again) by dropping his OLF 1.0 (Omi’s Left Foot) collection as a super-exclusive 50-pair drop with Italian art house shoemaker Fab-brizio. The 50-pair micro-collection sold out within an hour of dropping on a private sneakers list. Merging a solid color palette reminiscence of early Valentino’s visual solidity and Rick Owen’s sense of counter-culture (with finesse) the hightops are intricate yet lavish wearable art or at least that’s what the people who were able to grab a pair has been saying.

The custom kicks are made with Italian leather in Rome and come with individualized magnet insert boxes with imagery from Vogue, NatGeo, and gallery shoots Omi has done all over the world. We only hope this is the first of many drops from Omi’s Left Foot and the next iteration is not limited to never-gonna-be-able-get-it drop. Omi’s photography work has covered many fashion elites from Kendall Jenner to Bella Hadid. Despite such mainstream success his work both in photography and in fashion remains firmly within the scope of art noir and can often provide a sense of outsider art with subversive messaging about consumerism and the absurdity of celebrity. OLF 1.0 exudes all that. and more.

Ahluwalia

Indian-Nigerian designer Priya Ahluwalia launched her menswear brand in 2018. She primarily uses vintage and deadstock fabrics, offering a modern approach to traditional menswear. She was tapped to participate in GucciFest last November and last month during London Fashion Week, she was awarded the Queen Elizabeth II Award for British Design. So we expect great things from Priya, but hey no pressure.

Puppets & Puppets

Artist-turned-designer Carly Mark doesn’t come from a conventional fashion school background, and her label, which is named for her Chihuahua-terrier rescue, Puppet, exudes that sort of non-structured rebellion. Non-conformity aside, P&P has taken over the streets of Paris and New York with ease and is now a staple among. the fashion elites.

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Valentino's Retro Futurism

by Linda Bezos

Pierpaolo Piccioli loves the street. Street styles from New York to Rome are his muses. Valentino's foray into its Resort collection is a canvas of eclecticism. It is filled with broody bourgeoise charm of 70's Rome. Art Deco to Baroque styles all invade the visual exploration of Piccioli's work. It is a collection brimming with cool and 'devil may care' sort of clarity. And by incorporating classic Valentino logos almost as a gonzo method, he foretells a future where classic brands like Valentino evolves to move forward, evolves to survive and prosper. Piccioli is a master at predicting where the market is heading and this surely is one of his more astute and nuanced collection within that realm of retro-futurism.  

Gucci and the Undying Levity of Standing Out

by Lydia Tan

Gucci is to street fashion is what Google is to search engines. There are many before it, there are many after it, but the name always reigns supreme. This look-book shot by director and photographer Harmony Korine in the archaeological parks of Pompeii and Herculaneum, has that element of gravitas attached to it. The clothes are what you would expect from Alessandro Michele’s team and they deliver being an experience by themselves, each styling telling a different story. Whether or not you buy into that element of fantastic is an individual choice as some would find these narratives to be to out there, but then again, not everything is for everyone. Gucci’s appeal is like a peacock, not every garden needs one, but some gardens prefer them. Caftans, brocades and printed suits are all stable by now, and the stories they tell is of confidence and clarity of vision. Gucci stands out because it is its sole goal.

Ka Wa Key and Call of the Wild

There’s no place like home’ is the name of KA WA KEY SS21 collection, which is inspired by the designers' memories of their homes, homes in Hong Kong, Finland, and London.

Delicious food and sunset hitting the skyscrapers of Hong Kong, Nightless midsummer nights and old forests of Finland, the wonky houses, and diverse streets of Dalston London. COVID-19 pandemic reformed what home means, the word home has so many “new” meanings now. 

KA WA KEY is a London-based gender-fluid label by design duo KEY CHOW and JARNO LEPPANEN. The designer duo reimagines traditional textile crafts using sustainable materials to rework everyday casual-wear.

Anthropology of Our Living with Fendi

by Olivia Moreau

Clare Waight Keller’s Givenchy is turning out to be a force of nature when it comes to combining legacy cool with functional couture. CWK considers her collections to be fully wearable everyday clothes and adds layers of custom goodness to be ready for airports to runways to red carpets. The beauty of her work is that foundationally the skeleton of her designs are deeply rooted in the understanding of how a modern human lives. In many ways, it is an exploration of everyday lives and she takes that anthropological knowledge to push her clothing research into commercial output. Her work is academic in precision but functional, It does not truly come with any singular narrative, as she is not trying to tell us a story but she is adding layers of silk, satin, cotton into our own stories. It is a wonderful way to augment the reality we live in and she does this with utter ease.

Julie de Libran's Fashion Liberation

by Sylvia Stoss

Julie de Libran has seen it all or at least have seen enough of the big fashion houses to know what works and what does not. In her stellar yet young career she has gone through Prada, Versace and everything in between. So her niche’ brand does not lack in gravitas, neither does it lack in originality and poise. Julie’s work has evolved over the years and her Couture collection in Paris encapsulates that evolution into neatly held ideas as dresses. Feminine and liberating JdL constructs a narrative of utmost ease and effortless grace. Add a sense of sustainability to the process and what JdL has done is both understated and extraordinary and are bound to have a strong impact on the commercial aspect of this ever-evolving art.

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