Mis en avant
CELINE FW24
A week after the end of fashion month, Hedi Slimane presented arguably one of the season's best collections. Drawing inspiration from the 1960s, which he considers the golden age of the brand, the designer showcased a collection that epitomised Celine. In a short film, Slimane revamped the brand's lexicon under his leadership, while also paying a touching homage to his mentor, introducing a beauty line, and incorporating 20 couture looks.
Throughout the hallways of Parisian art deco landmarks, models exhibited what is unquestionably one of Slimane’s finest collections for the Maison. The opening look was a conservatively structured black minidress adorned with thick ropes of pearls - think Breakfast at Tiffany’s meets Twiggy. Simultaneously showcased in various venues, models flaunted checkered matching sets in the galleries of the Musée des Arts Décoratifs, Space Age-inspired minidresses in the Salle Pleyel theatre, and A-line capes in the Maison de la Chimie.
The homage to Celine permeated the collection, not only in its overall BCBG look and feel but also in the frequent cuts to the Arc de Triomphe. This French landmark is deeply entwined with the Maison’s DNA. Legend has it that the brand’s founder, Céline Vipiana, was stranded near the monument in 1971, and while gazing at it, she was inspired to create Celine’s now instantly recognizable monogram. Appropriately titled “La Collection de l’Arc de Triomphe,” the brand’s Fall/Winter 2024 collection was brimming with the iconic symbol, notably in the incredibly desirable bubbly pillbox hats.
The bulbous shape was further explored in intriguing puffy fur coats and sweet babydoll silhouettes, some of which were part of a 20-look couture capsule concealed within the ready-to-wear collection, featuring intricate embellishments, snazzy sparkly collars, and razor-sharp cuts.
In the captivating video that introduced the collection, Slimane also teased an exciting new venture for the Maison. Following Celine’s successful launch of its perfumery collection in 2019, the brand is expanding its offerings with an elegantly packaged beauty line. Commencing with 15 shades of lipstick, the new range will be available in 2025.
According to Slimane, the collection wasn’t merely a tribute to Celine’s legacy but also a homage to one of his most significant mentors, Richard Avedon. The American photographer, renowned for his portraits, was a close collaborator of the designer. While honouring Avedon, Slimane orchestrated a tactful ode to his Maison, introduced a beauty line, and presented a striking short film, proving that sometimes, you can in fact have it all.
Words by Pedro Vasconcelos
LACOSTE FW24
With its new chapter led by creative director Pelagia Kolotouros, Lacoste is going back to its tennis roots. Staged at the Roland Garros stadium – the location of the yearly French Open tournament – the brand’s Fall/Winter 2024 show played around with the classic tropes of the game’s uniform. Pleated skirts were either elongated or shown in their more traditional format, but styled over trousers. A cream tennis dress was transformed into a floor-length gown with an off-the-shoulder neckline. Cable-knit sweaters were mega-cropped and worn under blazers. Furthermore, Kolotouros used the iconic emblems of the sportswear house and gave them a modern twist – from looks head-to-toe in Lacoste’s signature green to garments covered in prints of the instantly recognisable alligator. One of our favourite moments from the collection was the silk black and white pieces printed with vintage photographs of tennis matches – a sure way to stand out in the crowd during the next tournament season.
Words by Martin Onufrowicz
SAINT LAURENT FW24
There is something so remarkable about Anthony Vaccarello’s “surprise” menswear show. The refusal to conform to the men’s schedule and, instead, closing the fashion month feels right. Nothing describes the Saint Laurent man better — it’s about nerve. After all, that’s what it takes to wear a voluminous black leather coat, one of the standout pieces of the Fall/Winter 2024 collection.
An array of shiny coats paraded slickly down the runway. From structured peacoats to boxy jackets, most were accompanied by caps of the same fabric — a nod to Yves Saint Laurent’s accessories from the 1960s. Vaccarello’s references to the founder of the Maison are omnipresent; however, this season, he took it a step further: a literal doppelganger opened the collection with Mr. Saint Laurent’s iconic glasses and suit, the first of many that elegantly swayed on the runway. There was something special about the way suits moved, both rigid in the shoulders and fluid on the body. To achieve this peculiar effect, Vaccarello based all the tailoring on flou, a term that describes the search for the ultimate fluidity, opposing itself to the solid construction tailoring presumes.
Confessing himself inspired by the movie American Psycho, there was something methodical about the collection. Elegance doesn’t just happen; it requires meticulous planning. Besides Christian Bale and Mr. Saint Laurent, there were slight nods to the womenswear show staged just a week prior. The powdery neutral palette was similar, even if not through sheer fabrics (except in the case of one lone see-through shirt). Suits in greyish shades of khaki, cream, and brown contrasted with matching shirts and ties. Ending a hectic fashion month, Vaccarello reassured us that in fashion, intelligently made clothing will beat out any stunt.
Words by Pedro Vasconcelos
LOUIS VUITTON FW24
In today’s fashion landscape, staying at the helm of a major fashion brand as a creative director for over a decade is truly a unique experience. Last night, Nicolas Ghesquière celebrated his 10-year anniversary at Louis Vuitton with a collection more than fit for this monumental occasion.
Staged in the larger-than-life venue at the house’s go-to Parisian location, the Louvre, the designer’s Fall/Winter 2024 offering was spectacular in its ingenuity. The show opened with a line-up centred around incredibly desirable technical windbreakers constructed in silk. This start was a great sign of what’s to come. The collection showcased some of the best outerwear of the season – from shiny embellished bombers to roomy shearling coats and tailored wool jackets with long side panels.
Throughout the show, Ghesquière also presented looks whose simplicity let his immaculate construction skills shine. Grey wool jackets were a modern take on power suiting from the designer’s favourite decade – the 1980s – while short dresses in the same fabric showcased his unmatched draping techniques. These more toned-down silhouettes were brilliantly juxtaposed with garments focused around his love for rich textures, with opulently embellished blazers and final dresses being highlights of this category.
Over the past 10 years, the designer excelled at creating immediately-recognizable accessories which have become staples in Louis Vuitton’s vocabulary. His iconic creations, such as the Petite Malle bag he premiered in his very first collection, were presented in the latest show in unique colourways alongside new handbag propositions. An accessory that seems to be Ghesquière’s very welcome obsession this season are fur mittens – used as a finishing touch in half of the looks on the runway.
In the collection, the designer was not afraid to reference moments from throughout his tenure, showing their timeless appeal – from floor-length gowns with long sleeves and strong shoulders to Louis XVI-inspired coats, and dresses with signature asymmetric hems. In the show notes, Ghesquière said, “Ten years later, this evening is a new dawn.” And with those words, we can’t wait to see what else he has in store for us in years to come.
Words by Martin Onufrowicz
CHANEL FW24
Themes have become central to modern fashion shows. Just this season, we’ve seen inspirations range from Edgar Allan Poe’s poems to Albert York’s landscapes. But some prefer to root their collection’s starting point in something slightly more personal. Designers like Virginie Viard look inward to find references. For Chanel’s Fall/Winter 2024 collection, the French designer tasked herself with educating the masses on the Maison’s origins.
Chanel’s catwalk this season was built to resemble a wooden boardwalk, but not just any one — it was a precise recreation of the one in Normandy, specifically the Deauville boardwalk. The small seaside city may seem inconspicuous to non-Chanel enthusiasts, but the Maison’s history is rooted in it. In 1912, the then-milliner, Gabrielle “Coco” Chanel, began selling her elegant hats, quickly expanding into a clothing line. Viard’s reverence for the founder of the brand she now leads is omnipresent. Expanding beyond the catwalk, models walked out in classic Chanel tropes.
Despite the beachy setting, the collection provided options suitable for the rigid French winter. Broad-shouldered pea coats and long tweed coats came in an array of colours. Boxy tweed jackets were paired with their matching skirts. Cropped trousers appealed to the classic Chanel masculinity, while full leather looks gave the collection a 1970s edge. But the star of the show was its hats. Harkening back to its milliner days, Chanel created a beautiful and interesting collection of headwear. Viard has unlocked a new skill. Her creations were big but not heavy, elegant but not boring. By the end of the show, the artificial sunlight had started to dim — marking the end of a wonderful, even if quick, beach day spent with Chanel.
Words by Pedro Vasconcelos
MIU MIU FW24
At Miu Miu, the gloves stay on. With her latest collection for the brand, Miuccia Prada showcased her obsession with the classic winter accessory. From ski-like pairs finishing just above the wrist to extra-long ones whose shape resembled technical gear, leather gloves were an accent that accompanied every single look on the catwalk. When it came to the clothes, the garments were a play on traditional bourgeois wardrobe staples - with Miu Miu’s signature naughty twist, of course! Pea coats were accessorised with pearl necklaces spilling out of undone collars. Oversized circle skirts were juxtaposed with chunky pirate boots going up all the way to the knee. Crushed silk dresses were contrasted with hotel slippers done in leather. The menswear offering was similarly centred around reimagining classics - from roomy hunting jackets constructed in a padded material to fur coats and knitted twin sets worn with pyjamas. The show ended on a deliciously perverse note, with a triptych of black cocktail dresses with dramatic cutouts paired with big croc-embossed gloves. As is customary with Miu Miu, the casting perfectly reflected the atmosphere of the collection, with friends of the house like actors Kristin Scott Thomas and Luther Ford, stylist Dara Allen, and musician Ethel Cain strutting alongside the models on the runway.
Words by Martin Onufrowicz
VALENTINO FW24
Pierpaolo Piccioli’s use of colour is debated every single time a Valentino collection debuts. It’s impossible not to bring it up; besides fashion, colour is the Italian designer’s medium. This season, Piccioli made a statement. Colour was absent, but in its place, a sea of black inundated the runway. Appropriately named “Le Noir,” the decision to scrap his idiosyncratic use of vibrant hues came from a Charles Baudelaire quote that reads: “Black is the uniform of democracy.”
For Piccioli, black was a blank canvas. Restricted from using colours to tell a story, the designer did so through textures, transparencies, and shapes. Speaking of, there was hardly a silhouette Piccioli left untouched. Everything from flowy gowns to structured hoodies was subject to his exploration. The show started with sweet mini dresses that, despite their angular shoulders, swayed daintily as the models walked.
Similarly, different textures paraded down the runway with not much else in common but their colour and Valentino's characteristic elegance. A thick vinyl coat was followed by joyful tulle skirts. Shiny fringed skirts juxtaposed laser-cut floral dresses. The collection ended with an array of sheer gowns, the last one being a particular standout — a transparent halter-neck dress covered the model's naked body in delicate flowers. Piccioli proves he doesn’t need colour to make a successful collection; if anything, colour needs him.
Words by Pedro Vasconcelos
ALEXANDER MCQUEEN FW24
Alexander McQueen is worshipped by the fashion crowd. There’s a sense of protection when it comes to his legacy. After all, his designs are part of the reason most began to think of fashion as an expansive art form. For over a decade after his death, Sarah Burton, his right-hand woman, took over and carried on his legacy respectfully. But now, for the first time since its inception, the house of McQueen has an outsider at its helm. The one tasked with this challenging role was Seán McGirr, an Irish designer who was previously at JW Anderson and Uniqlo.
For his debut, McGirr said he channelled the spirit of the earlier Alexander McQueen shows. Despite his admiration for the British designer’s impact, he admitted that he only had three months to create the Fall/Winter 2024 collection. Because of time constraints, he was forced to resort to visual research instead of visiting the physical archives. Still, references to “The Birds” were made rather obviously in the opening look that encapsulated the model’s arms in the black laminated silk jersey.
The classic McQueen edge was reworked, modulated in a different, less serious manner. Hoof shoes galloped down the runway, and smashed crystal dresses were impressive, though we were expecting them — they were some of the only clothing shown in the campaign that preceded McGirr’s debut show.
The menswear offers were exceptional. From studded bomber jackets complemented with furry jeans to sharply tailored leather trench coats that exuded Jack the Ripper energy. The men’s offers specifically seemed to be rooted in British edge.
Despite the nods to the founder of the brand, there were almost none made to his successor. Instead, McGirr showed his idiosyncratic elements in his first audience-facing role. The designer’s time at JW Anderson peeked through in oversized knits that restricted the wearer, resembling tyres around the body. The Irish designer replaces McQueen’s aggressive design choices and soothes them, making them almost witty.
As with any designer who would step into the house of McQueen, McGirr’s debut sparked extensive discourse online. But the collection showed immense promise. Now gifted with more time for his next show, we can’t wait to see where the Irish designer takes us next time.
Words by Pedro Vasconcelos
BALENCIAGA FW24
Balenciaga’s Winter 2024 show is staged in a digital tunnel made out of hundreds of screens pieced together. This isn't the first instance that the brand has set up a multimedia experience to display its collections. This time, however, Balenciaga isn’t creating an immersive futuristic environment. Instead, they displayed an array of highly realistic A.I.-generated landscapes. Throughout the show, the models are seen angrily walking through a snowy mountainous land or a desertic canyon before reaching the streets of Paris – where the event is actually taking place. The use of A.I. in fashion is a very current topic as many wonder how new technologies will impact their jobs. Demna Gvasalia is once again at the forefront of progress. Here, A.I. is used to paint images of lands filled with sun and fireworks. The scene is dystopian but surprisingly optimistic.
The collection references technology through its offering of accessories featuring futuristic shield sunglasses and bracelets made to carry an iPhone. The tone is set. The looks from Winter 2024 act as a condensed summary of Demna’s work for the brand. From the extra-oversized pieces to the garments whose purpose has been shifted, such as the denim trousers used as tops, the codes of Gvasalia’s Balenciaga are dissected and celebrated. Demna himself expressed in the runway notes that the collection is a study of the aesthetic that he has now curated for over a decade. Throughout the years, Balenciaga has successfully proven that different forms of luxury can coexist and shape the way fashion is seen and consumed. With this latest offering, Gvasalia has shown that he’s never out of clever ideas when it comes to further examining this dynamic.
Words by Marien Brandon
VETEMENTS FW24
Last season, Guram Gvasalia created a collection that ridiculed both the everyday and the glamorous. Its social media impact was certainly amplified by the creative director’s comments on his brother, establishing the sibling rivalry we can’t take our eyes off. If there’s one thing the youngest Gvasalia can do, it is stir up conversation. This fact is undeniably obvious with the Vetements Fall/Winter 2024 collection.
The Swiss brand’s show is always a who’s who of people you probably follow on Instagram. This season, the rich and famous jumped from their front-row chairs onto the catwalk. From niche celebrities to mega-popular ones, the casting’s social media reach was amplified by the clothes they wore. Ever the online troll, Gurum put Anwar Hadid in an oversized T-shirt that read: “Not Mom’s Favorite.” Georgina Rodriguez appeared on the runway in an elongated football shirt, replicating the uniform of her husband, Cristiano Ronaldo.
A sense of irony is constant in Vetements. Beyond oversized T-shirts that poked fun at its models, ridiculous amalgamations of teddy bears made up voluminous coats. The pieces, which made the bears sway as they moved on the catwalk, were a collaboration with Jean-Charles de Castelbajac. Oversized blazers, denim jackets, and gowns closed the elegantly ironic collection, with the honour of ending the show given to the beloved actress Marcia Cross in a red sequined gown that emulated her ever-identifiable hair.
Words by Pedro Vasconcelos
LOEWE FW24
If there's one thing Jonathan Anderson will do, it's to get inspired by an artist for a collection. For Loewe Fall/Winter 2024, the Irish designer looked into the work of Albert York, an American artist known for his landscapes and still life. York’s art wasn’t merely Anderson’s muse; it was part of the physical framing of the collection — the tent the show took place in had 18 paintings by the artist on its walls. References to it came in the shape of floral matching sets and oddly draped dresses. The latter is one of Anderson’s staples. This season’s peculiar roster was made up of uniquely belted sleeveless maxi dresses and geometrically challenging bow-shaped minis.
The designer’s omnipresent surrealist kink was on full display in (very) high-waisted trousers with dramatic metal bubbles and billowy cargo pants that distorted their wearer’s legs. The exploration of high-class aesthetics was interesting. Displacing a tailcoat’s tails off to the side, the designer reinterpreted a classic in a curious yet palatable way. Clunky metal lapels on structured wool coats were a definite standout. Coming in both organic and angular iterations, the metallic collars grabbed your attention as the models walked, stiffly opposing the moving fabric. It’s fruitless to worry about Jonathan Anderson; he’s long proven mastery over his craft.
Words by Pedro Vasconcelos
CHLOÉ FW24
It’s not common for the fashion industry to be optimistic. So when it was announced that Chemena Kamali was to replace Gabriella Hearst as the creative head of Chloé, it was amusing to see a positive reaction from a crowd that simultaneously craves and loathes change. Her track record explains the response. The designer started her career at Chloé over 20 years ago under Phoebe Philo’s leadership. Since then, she’s moved around the fashion elite — Saint Laurent being the latest entry in her résumé, well, second to last now. The excitement continued when the new creative director tweaked the brand’s logo, bringing it closer to the original.
Kamali’s interest in reinstating Chloé to its former self wasn’t limited to its letters; it was obvious as soon as its Fall/Winter 2024 show began. Inspired by Karl Lagerfeld’s time at the Maison, the designer’s debut was an ode to everything we loved about Chloé. It wasn’t intellectual or overcomplicated. Kamali gave us exactly what we wanted to see — the renaissance of boho chic. Heavy on the boho, the collection was a masterclass in frilly femininity with a '70s undertone.
Billowing maxi dresses were filled to the brim with lacy layers. Plaid coats almost touched the ground. Structured leather jackets were made flowy with bouncing fringe. Kamali’s bohemian charm is not just endearing; it’s infatuating. A student of Lagerfeld through and through, Kamali rescued the iconic designer’s styling from 1977, tucking flowy dresses in delicious over-the-knee boots.
There was something refreshing about exaggerated chunky gold belts that spelled out the brand’s name. The new Chloé doesn’t take herself seriously. It’s safe to say Kamali’s debut was triumphant. It’s so refreshing when a designer not only understands what their audience wants but gives it to us.
Words by Pedro Vasconcelos
GIVENCHY FW24
Following the departure of Matthew M. Williams last season, Givenchy was left without a Creative Director to lead the emblematic French house. The suspicions on who will replace Williams are slowly becoming the talk of the town while the brand’s Fall/Winter collection was designed by the studio team. This transitional phase in the ateliers resulted in an offering heavily inspired by the archives of Hubert de Givenchy. Over the years, Givenchy has been shaped and moulded by the strong creative lenses of individuals such as Alexander McQueen or Ricardo Tisci whose repositionings of the brand were often drastic. This time, we appreciate seeing some vintage inspirations as the history of Givenchy is not the most commonly referenced one.
Hubert de Givenchy's signature theme of the “little black dress” is brought back to life in this collection. Amongst the broad offering of black cocktail dresses, some are very 1960s with U-shaped necklines, while others appear to be more modern as they feature cutouts on the hips. The Givenchy studio made it a clear point to remind us of the Couture status of this institutional brand. The silhouettes feature heavy feather embroideries and the show is closed with a wedding dress – in pure couture tradition. I’m sure that we are all dying to know what’s next for Givenchy but, in the meantime, we appreciated this refreshing lesson on its history.
Words by Marien Brandon
ACNE STUDIOS FW24
In his Fall/Winter 2024 offering for Acne Studios, Jonny Johansson used leather and denim – two staples in the brand’s vocabulary – to build a collection of incredibly sculptural and seductive clothes. Before the show had even begun, the artwork placed in the centre of the venue – two large-scale sculptures of armchairs made out of recycled tyres by Estonian artist Villu Jaanisoo – was an evocative sign of what was to come. The rigidness and industrial nature of the piece made its way to the showcased garments. Inspired by saddlery, the moulded leather dresses in black and chocolate brown were cut to perfection and highlighted the female body. The denim sets were dipped in oily sheen and featured stiff collars partially covering the face. Johansson’s two favourite textiles were accompanied by faux fur accents, used to create exaggerated coats and dramatic snoods. The designer has even managed to make knitwear look technical, presenting short and floor-length dresses that wouldn’t look out of place on the set of Dune. The futuristic silhouettes were paired with equally elevated accessories – from oversized bowling bags to knee-socks-and-strappy-sandals hybrid boots.
Words by Martin Onufrowicz
DRIES VAN NOTEN FW24
Inside a seemingly abandoned building, a crowd gathers at 1:30 PM. As wine glasses are brought out, those who have had their lunch sustain, but the same can’t be said for those who waited until after it to eat. Suddenly and without prior warning, people sit down. The room knows when to quiet down.
Slow and steady, models start appearing on the runway. But this procession is devoid of spirituality; it’s almost mechanical. The first thing you notice about the collection is the styling; some pieces are beyond recognition. Hoodies were used either as a singular sleeve or a beautiful dress, undermining their inherent casual nature. Similarly, other everyday (we don’t dare say relatable) fabrics, like denim or heavy knits, were reworked under Dries Van Noten’s guise.
His Fall/Winter 2024 collection is a meeting of worlds — the mundane and the extraordinary. Named “The Woman Who Dares to Cut Her Own Fringe,” it explores contrasts. Neutral trousers and oversized knits are paired with protruding and glittery jackets. Sheerness is played with safely. Practical wool coats are puffed at the sleeves, implying a vaguely romantic feel.
After 66 looks, we have changed our minds. Van Noten isn’t colliding worlds; he’s showing us they’re at different extremes of the same spectrum.
Words by Pedro Vasconcelos
COURRÈGES FW24
There’s something so wildly amusing about morning sex. On Wednesday morning, Courrèges held its Fall/Winter 2024 show in a sunlit room. A quiet audience listened attentively as a deafening heartbeat began, eventually met by exasperated breaths. As the models trickled in, an odd movement started. The runway's centre began propelling forward, inflated to the beat of the breath.
If there’s one thing Nicolas Di Felice’s Courrèges has accomplished, it’s branding. While the designer is tethered to the Space Age aesthetic that keeps us fashion geeks attached, an idiosyncratic sexuality is similarly omnipresent. Through Di Felice’s direction, sexiness is sought out in an intellectual manner—every design choice is made in its name. There’s no denying it, Courrèges makes even trench coats sexy.
This season, the Belgian designer expanded the textural reach of the brand’s aesthetic. Fur was a natural choice for the job. Faux fur was thrown atop classic Courrèges outerwear. But there were also intriguing drapes in flowy tops and sensual dresses. Our Space Age kink was satisfied with stiffly hooded minidresses.
The show ended diametrically opposite of where it started. In the beginning, Felice insisted on pointing out that sexiness isn't nudity — it's a matter of silhouette. By the end of the show, he caved in with skin-tight sheer tops and dresses. But even with transparency, the designer can’t help himself, adding tingling soft spikes made up of stripped feathers. Then came the climax. As the last model walked out, the music sped up, as did the floor’s protrusion until it ended up staying erect as the beat continued. Eventually, the music stopped and the mound swiftly deflated. What a great way to start the day.
Words by Pedro Vasconcelos
BALMAIN FW24
For Fall/Winter 2024, Olivier Rousteing revisited some of his themes of predilections such as the Balmain Army or the house’s emblematic flower motifs. The newest iteration of the former features strong silhouettes inspired by a military wardrobe composed of trench coats and gabardine trousers in earthy tonalities. The looks remained cinched at the waist and bestowed with large shoulder pads but appeared to be more edited than in the past, while still showcasing the designer’s signature draping and sculpting techniques that transcend the realm of what is expected from a ready-to-wear collection. The floral prints are an icon of the house of Balmain and Rousteing proved himself to be a very good historian of the brand. This season, the usage of floral patterns comes with a twist as the garments are embroidered with bunches of grapes, printed with vine leaves and accessorized with cherry-shaped brooches and rhinestoned purses. There is a whole significance attached to fruits in art. Here, Balmain calls for opulence and prosperity, evoking a truly sensual imagery.
Words by Marien Brandon
SAINT LAURENT FW24
Anthony Vaccarello has long assumed an influential role in fashion. Beyond taking on the creative control of Saint Laurent, undeniably one of the industry’s most important Maisons, the designer has proven capable of furthering its legacy. Through constant, even if subtle, references to the founder of the brand he now leads, Vaccarello creates compelling fashion.
For Fall/Winter 2024, the Belgian-Italian designer explored the brand’s history with see-through fabrics. In 1966, Monsieur Saint Laurent liberated women’s bodies, revealing a model’s breast on the runway through a sheer blouse. Now, 58 years later, Vaccarello revisits this notion, not for the sake of revolution as in the past, but as an expression of the desire to disappear.
The show opened with sheer minidresses, resembling the look and feel of stockings (coincidentally, it was stockings that adorned models’ heads). Tension was examined, as, following the barely there looks, came imposing blazers, aggressively angular at the shoulders. Exploring form and function, the looks that followed had what some might call conservative silhouettes — pussy bow blouses and pencil skirts — but all done in slinky, sexy transparencies.
The collection, which, as Vaccarello mentioned, was a direct response to his past two collections, had a familiar colour palette. Powdery beiges, elegant blacks, and interesting jewel tones all paraded down a runway encapsulated by deep green curtains.
Heavy fur coats and stunning rubber military jackets punctuated the misty approach of most of the collection. Speaking backstage, Vaccarello said, “My job is to propose something different that is not necessarily realistic or necessary.” However, he has accomplished a show that is somehow both, speaking to the current state of fashion while cementing his respect for the Maison he serves.
Words by Pedro Vasconcelos
GIORGIO ARMANI FW24
Closing a fashion week is not a privilege many receive. It’s a blessing bestowed only upon those who have proven themselves to be staples in the industry. If we define that as the condition necessary to be met, Giorgio Armani is its living embodiment. The designer’s namesake brand wrapped up Milan Fashion Week. His Fall/Winter 2024 collection saw flowers bloom despite the temperature the clothes that walked down the runway should be worn in. Florals? For Winter? Very chic.
The collection’s palette evolved as time went by. Starting with greys (more specifically greige, the colour the designer is best known for), its direction quickly veered into deep blues, featured in both silky trousers and utilitarian parkas. By its middle point, we had solidly landed on black, the colour of Giorgio Armani’s season. From the darkest shade bloomed flowers in hues of bubbly pink and electrifying blue. The flowers that sprouted in fun embroideries and elegant prints were a constant throughout the collection.
As eveningwear cropped up on the runway, so did marvellous dragonflies, resting carefully on the shoulders of a gown or laying on the chest of a mandarin-collared jacket. Playing off classic representations of joy in what’s often considered a joyless season, Armani makes his clothes gleeful manifestos.
Words by Pedro Vasconcelos
