Fashion News

For the constant traveler, owning a repertoire of shirts that can be shoved into a suitcase and…
Phoebe Neuman

While gingham and pinstripes are easy patterns to incorporate into any wardrobe, no collection…
Phoebe Neuman

Your front row view, no ticket required.

“To actually be a part of a brand that you look up to, and a legendary one at that, is super dope.“

Heresy: An opinion or doctrine contrary to dogma. Is it heresy to question the deification of Vetements’ Demna Gvasalia by the fashion and pop-culture faithful? His acolytes are so vast that last season, brands from Juicy Couture to Brioni and Church’s let him have his way with their stuff.
On Tuesday, Gvasalia delivered another interesting Vetements collection, a study of stereotypes. “This season was a bit of an outburst of that kind of fascination with social uniforms and how people dress, dress codes,” he said backstage postshow. “It’s something I always work with, more or less, but then we really decided to emphasize it and to study each look as a separate person, as a character.” To that end, he labeled each player: La Parisienne, Bouncer, Broker, Vagabond, Punk, Pensioner, Secretary, and on through a litany of 36.
Designers have long created characters, but this was different. This was — or felt like — unenhanced reality, his nonmodels genuinely diverse across generations, ethnicities, body types, ages and runway walks. With the exception of the bright green-clad punk with his mile-high spiked tresses and the ghostly bride, most looked not fashion-real, but really-real, as if they’d gotten dressed as they would on any other

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With all those veils and many meters of tulle and lace, Alexis Mabille’s increased focus on bridal, having dedicated his 34 Galerie Vivienne store to the category since mid-December, seemed to be wielding its influence here.
Or maybe just the idea of girls playing dress-up. A “Gentlemen Prefer Blondes” theme wove through, with among leitmotifs a crystal tiara that morphed into belts and embellishments on the arms and bustiers of jewel-tone gowns.
The opening evening look, combining a pretty black bustier top in an oversize ruffle and high-split pants, was misleadingly restrained. The ruffles and colors — which spanned pastels, neons and unexpected mixes like turquoise and purple — got bigger and bolder, as silhouettes meandered between formal gowns, lingerie-inspired looks and princess dresses, like a lemon sherbet number dusted with crystals.
There were some nice moments, such as the yellow silk handkerchief dress edged with geometric black lines, and the delicate handiwork was impressive, especially on a voluminous, sheer overlay in illusion tulle striped with bands of colored satin, worn over a bodysuit.
But the collection’s obsession with making it down the aisle — whether for rocks or romance — felt out of sync with the times.

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High-minded glitz. Not a concept easily realized, even in the haute sphere. That’s because, just like everything else in fashion, glittering embellishment has a range from high to oh-so-low. It has been used and abused, the go-to trick-me-up for red-carpet mermaids, cheesy pop stars, cheesier gymnasts, housewives of who-knows-which-city and every PYT with an Instagram account and a party to chronicle. Along its egalitarian journey, the sparkly stuff has lost the luxe from its luster.
Leave it to Karl Lagerfeld to put it back in. At his Chanel show on Tuesday, he turned up the tony on intense renderings of allover crystal embroideries. His starting points: two icons of 20th-century creativity, Syrie Maugham and Alberto Giacometti. Maugham’s white interiors and famous slim-paned mirrored screen provided specific inspiration for Lagerfeld’s installation in the Grand Palais, right down to the multiple vases of sleek, tall calla lilies.
If the set reflected anything — other than everything — it was a sense of strict control imposed to enhance elegance without draining spirit. The prevailing silhouette was inspired by Giacometti’s “Spoon Woman.” The result: a waist higher than natural but below empire, with a skirt curved around the hips in the shape of a spoon. The

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Kiko Kostadinov presented a streamlined, minimal first collection for Mackintosh 0001. The new premium offer from the Scottish heritage label featured 10 unisex looks in black that relied heavily on the brand’s signature rubberized materials. Waterproof tape used to seal the seams on Mackintosh raincoats has been repurposed as reflective stripes throughout the collection — adding a sporty, urban element to looks that had an otherwise formal tone. The tape was also used to weigh down hems and sleeves, resulting in the traditional, loose cut on trenchcoats retaining a structured effect in motion. Overdyed black coats looked blue in the lights, contrasting with ebony knitwear for a sophisticated monochrome effect.

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The setting for Stéphane Rolland’s spring couture presentation was an art gallery, his designs displayed like abstract sculptures around the white open space.
Referencing the studios of Brâncuși and Rodin, his register was mainly the off-white of plaster of Paris, worked into his typical architectural shapes in fabrics such as gazar with asymmetrical organza shapes like flames or the petals of the calla lily.
Most of the designs sat in this monochrome palette, some with touches of gold leaf that stiffened the fabric, turning an enlarged collar into an almost-hood on one A-line gown.
A couple of black designs — “like the line drawn with a pencil,” said the designer — also found their way into the collection, although one of the more minimal pieces, a flowing hooded robe, looked curiously like something worn by Grace Jones in her Bond villain days. The centerpiece, meanwhile, was a bright red voluminous creation belted with a giant bustle. The color represented passion, the designer said, showing that his own passion has no bounds.
“This summer collection is sculptural, eternal and timeless, but never rigid, either in time or space,” the show notes said. Rolland’s aesthetic is deeply rooted, although he continued in the more pared-back direction

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Despite macro problems, Messe Frankfurt France is set to present a dynamic and expansive 40th anniversary edition of core fabric fair Texworld with a four-day run starting Feb. 6 at Le Bourget.
The exhibition organizer has garnered its largest exhibitor turnout for a February edition yet.
“We will have more than 1,000 exhibitors at Texworld and Apparel Sourcing combined,” said Messe Frankfurt France chief executive officer Michael Scherpe. “At Texworld, we have 725 registered exhibitors, and normally we have between 620 and 650. That’s quite a significant increase.”
Scherpe downplayed concerns about political and macroeconomic issues as well as terrorism fears and their impact on the industry.
“The global economy isn’t doing so badly, and unfortunately we have now become accustomed to [security fears] — they no longer have the same impact as they did,” he said, referring to the terrorist attacks that have shaken Europe over the past two years and had a heavy impact on traffic for many French trade shows in 2016.
“We are a trade show where people come to do business, rather than get information and trends,” he said.
Texworld and Apparel Sourcing, which gathers apparel contract manufacturers, are less sensitive to market forces than events with a more high-end positioning,

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