showreport
Martin Onufrowicz
CELINE SS25
showreport
Martin Onufrowicz
LOUIS VUITTON SS25
showreport
Martin Onufrowicz
LACOSTE SS25
showreport
Martin Onufrowicz
MIU MIU SS25
showreport
Martin Onufrowicz
VALENTINO SS25

showreport

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

BOTTEGA VENETA FW24

Making fashion in today’s climate is not an easy job. Consumed by the dark clouds that seem to surround the world, producing beautiful clothes is a task that often feels superfluous. Matthieu Blazy is inspired by that uneasiness, one he admits to feeling in his skin. Influenced by the dark times we live in, Bottega Veneta’s Fall/Winter 2024 collection was a reflection on the cactus flower that blossoms in a desert’s flaming heat.

Among Murano-glass cacti and moody summer sunset lighting, Blazy presented sculptural wardrobe essentials. Meant to represent a celebration of the mundane, the designer made the quotidian extraordinary. The show opened with sumptuous outerwear pieces. In leather and wool, long coats contrasted circular shoulders with angular collars. The designer’s infatuation with shirts continued as oversized iterations were layered on top of each other.

If the shoulders were rounded at first, they soon became harsh, creating almost ninety-degree angles. The silhouette is explored in different ways. First in unassuming sweaters, then in below-the-knee knits.

Fringe dresses were continued from last season, this time explored in a restrained manner. Referencing the desert blossoms, a sleeveless red dress and a black skirt jut out just below the knee to reveal a cacophony of fringe, resembling an anemone as the model's feet slowly move them along the runway.

Despite the obvious commercial nature of the collection, Blazy’s obsession with trompe l’oeil was on full display. No, not in leather denim as in previous seasons, but in less algorithm-friendly ways. Torn dresses and coats revealed meticulous fringing techniques upon further inspection.

At Bottega Veneta, craft is a tool best used when testing the definition of surrealism. Mysteriously pleated skirt sets flowed hypnotically down the runway. Apron dresses in brick red and olive green combine diagonally at the body, seemingly kept together by comedically wobbly buttons. Armor-shaped sweaters printed optical black and white illusions.

After an immensely successful past two seasons, Blazy doesn’t seem to be slowing down, creating a collection that effortlessly blends the wearable and the artistic.

Words by Pedro Vasconcelos

MSGM FW24

Taking inspiration from Truman Capote’s Swans, MSGM’s Fall/Winter 2024 was an updated take on classical glamour. Citing Ryan Murphy’s “Feud: Capote vs. The Swans” as an influence, this season’s offerings had an unexpected yet idiosyncratic elegance. Pencil skirts, fur trims, A-line dresses — the 1960s references were obvious throughout the collection. But Giorgetti’s take on the decade wasn’t done without meddling. Through the use of chunky sequins, bold colours and unlikely zips, the designer made sure to keep his point of view intact. The inspiration source was at times inconspicuous, at others rather explicit, as swan embroideries glided down the runway in silky skirts and functional overshirts.

Words by Pedro Vasconcelos

BLUMARINE FW24

It’s the dawn of a new day for the house of Blumarine. With Nicola Brognano’s exit and the subsequent appointment of Walter Chiapponi, question marks filled the industry. What was to happen to the brand’s (not so) recent Y2K makeover? Well, looking at Chiapponi's debut, it’s been scrapped, replaced with romantic maximalism. Not that it took much interpretation from our end, as a dress spelled out: “Je retourne à l’amour” on its back.

The romanticism isn’t farfetched, it’s a callback to the brand’s popular aesthetic pre-Brognano’s takeover. From floral patterns to animal motifs, this season’s offerings were filled with references to co-founder Anna Molinari’s Blumarine.

The collection, despite its clear point of view, was eclectic. Bright yellow coats interrupted flowy transparent sets. Fur ball-trimmed cardigans and skirt sets were interrupted by red leopard print tops.

Despite confessing to only having three months to make his first collection, Chiapponi somehow found time to debut menswear in the brand’s offerings, including a sumptuous floral coat and tailored suit jackets.

Words by Pedro Vasconcelos

TOD'S FW24

The world keeps spinning. The musical chairs keep turning. From Moschino to Blumarine in Milan, it’s the season of debuts. Matteo Tamburini’s first collection for Tod’s was one of the most anticipated. After working as Matthieu’s Blazy right-hand man at the extremely successful Bottega Veneta, the expectations were high. 

Unsurprisingly, Tamburini didn’t disappoint. Instead, he presented a collection that honoured the brand’s DNA. The accessories, particularly the shoes, were immaculate. Fringed loafers and untied boots were featured alongside more classic options. Tod’s symbols were further reflected in the clothing. A luscious pony hair coat stands out, as do thick leather trousers.

Knitwear was brought to the forefront, as sets were explored in varied ways. Thickly ribbed three-piece sets were juxtaposed with mysteriously layered cashmere sets, all in excitingly neutral shades. Tamburini even had time to introduce a new logo, an elongated T, featured in shoes and bags. 

Words by Pedro Vasconcelos

ETRO FW24

Etro's Fall/Winter 2024 collection is opulent and representative of the style of the Italian brand to a quintessential level. The show is opened in decadence as the first few looks feature the house’s iconic paisley pattern gold-leafed onto felt coats and skirts. If Etro’s creative director, Marco De Vincenzo, dives into the usual grandeur of the brand imagery, he visited this time a darker side to it. Indeed, the loud baroque prints and the vibrant colours – a signature of the brand – are seen throughout the collection but in more muted shades. The colour black is usually rare at Etro; this time, it is at the centre of everything. The collection is equally dark and baroque, far from the bohemian chic we have been used to, yet the spirit remains.

De Vincenzo pays homage to Greek tragedies and takes us on a Homeric journey. Giant Grecian theatre masks are used as the centrepiece of the catwalk, plunged in tamed lighting, enhancing the sombre atmosphere around the collection. The same masks can be seen on the jewellery pieces. 

Each garment features lavish embellishments - this comeback of maximalism on the runways is refreshing after years of beige monochromatic silhouettes. Etro’s maximalism is partly transmitted through textures, which play a crucial role in the brand’s aesthetic. The luxurious silks, velvets and cashmere not only add to the sumptuosity of the show but also call for a sensory experience – that’s about as Italian as it gets.

Words by Marien Brandon

PRADA FW24

Over a glass-encased garden, Prada presented its Fall/Winter 2024 collection. On a set whose flooring replicated that of the menswear show earlier this year, Mrs Prada and Raf Simons explored the juxtaposition of feminine and masculine. The duality was probed openly — separating garments' fronts and backs into different pieces. Intimidating wool coats revealed silky backs as they walked by.

The range of this conversation exceeded the limits of individual looks, it permeated the collection. Formal masculinity, embodied by structured coats in shades of black and grey, was contrasted by outrageously feminine dresses adorned with too many bows to count. Prada’s gift for portraying strikingly delicate, yet cerebral, femininity was on full display. Sparkly bows decorated heavy knitwear, while furry flowers blossomed on sheer dresses.

Accessories were a standout, from feathered pilot hats to embellished bags. Galleria bags were rendered irresistibly useless when dangled from wristbands, emptily swaying to the sound of a distorted rendition of My Funny Valentine.

Words by Pedro Vasconcelos

VALENTINO HAUTE COUTURE SS24

Titled "Le Salon", Valentino’s Couture Spring 2024 collection was an ode to the art itself. Pierpaolo Piccioli was said to be inspired by the current resurgence of interest in the couture tradition. With this reference point set in his mind, the designer traded out last season’s grandiose Château de Chantilly for the intimate salons of Place Vendôme. In a venue that evoked the salons of ancient couture, Piccioli delivered a collection that emphasized craft over artifice.

Known for his monumental couture pieces, this season, the designer’s theatrics were mellowed out. Effervescent feathered headpieces were replaced by transparent lace masks. Titanic chandelier crystal earrings were swapped for golden ribbon-like ones. Monumental rose hats moved down the body to create textured capes.

One thing that didn’t change was, of course, Piccioli’s exquisite use of colour. This season, the flashy PP Pinks and Valentino Reds were taken over by demure eggplants, dusty oranges, and muted reds. A thick leather trench in the last shade was adorned with golden balls all over, creating a three-dimensional polka dot effect. The piece marked the beginning of the last section of the collection, where gold and black reigned.

The focus on craft continued in Piccioli’s tradition of highlighting the work of the Valentino atelier. By sharing his bow with his team, the designer continues to show his respect for the tradition of couture.

Words by Pedro Vasconcelos

MAISON MARGIELA HAUTE COUTURE SS24

Maison Margiela's Couture Spring 2024 collection marked a triumphant return to form for John Galliano, who had, for decades, elevated fashion into a captivating show. Following an eerily hypnotizing short film, Leon Dame skillfully blurred the boundaries between fantasy and reality, gracefully donning a white corset and trousers with pronounced hips.

Nude corsets sculpted sinuous figures, revealing themselves beneath thinly veiled black tulle dresses—a delightfully useless cover, especially under the luminous glow of Pont Alexandre III, where the catwalk started. Similar dresses featured silver sequins and black feather-like trimmings. 

The emphasis on silhouette was omnipresent, showcasing unbelievable shapes. Exquisitely tailored suits contorted into hourglass forms, while various iterations of skirt suits boasted billowing sleeves and impeccably rounded hips. Initially presented in flower-like lace and later in white, layered with black ripped sheer fabric — reaffirming the influence of the Maison that the designer now leads.

Despite unmistakably embodying Galliano's signature style, the collection exuded an undeniable Margiela essence. Seams were accentuated rather than concealed. Hems were intentionally left raw. White stockings were placed over high-heeled orange shoes (tabis, obviously).

A standout piece from the collection was the pleated beige coat, its texture reminiscent of cardboard. As the model extended her arms, the impeccably cut kimono sleeves replicated the appearance of a pannier.

The dark Victorian fantasy persisted. Amidst a predominantly neutral palette, painted bodysuits beneath embroidered sheer gowns floated ghostly on the catwalk. In blurred shades of blue and pink, the models resembled distorted versions of Monet's sunrises.

Beyond the garments, Galliano's shows are a spectacle in themselves. Exquisite women paraded as enigmatic figures concealed behind voluminous coats. Models assumed doll-like personas, their faces porcelain-glazed, moving down the runway as if orchestrated puppets in Galliano's theatrical production. We’re just happy to be back in the audience.

Words by Pedro Vasconcelos

CHANEL HAUTE COUTURE SS24

A colossal button descended from the ceiling in Chanel’s latest show. The magnified object took centre stage in the Maison’s Spring 2024 Couture collection. In anticipation of its debut, Virginie Viard commissioned the appropriately named film The Button from Kendrick Lamar, Dave Free and Mike Carson. Similarly, a century earlier, Gabrielle Chanel collaborated with a team of artists to design costumes for the Ballet Russes production of Le Train Bleu. In Virginie Viard’s Chanel, life consistently imitates art.

For the Maison’s latest haute couture collection, the designer once again drew inspiration from the brand's founder. Ballet references permeated the collection in various forms. Layers of white tulle blurred the lines of classic tweed ensembles and beautifully embroidered dresses mirrored the shapes of camellias. The light colour palette, anchored in ballet white, evoked memories of her predecessor's fondness for pastels. The ever-present white tights not only aligned with current trends but also contributed to the overall ballet sensibility of the collection.

Surprisingly, the most impressive use of buttons wasn’t in the ceiling. From Margaret Qualley’s absent button on the right arm of her jacket to shiny iterations on sheer dresses, colourful coats and shrunken tweed jackets — Viard’s decorative use of the often-utilitarian object infused an undeniable youthfulness into the collection. This sentiment persisted all the way to the final look, where the conventional bridal gown was replaced with an embroidered mini dress accompanied by a sweeping tulle capelet.

Words by Pedro Vasconcelos

SACAI FW24

Season after season, Chitose Abe reminds us with her Sacai collections that she’s the unmatched master of outerwear. The Japanese designer knows no limits when it comes to creating garments that are equal parts imaginative and practical, and her offering for Fall/Winter 2024 was no exception. Abe thrives in constructing interesting proportions, and this time around, the silhouette was elongated. The voluminous black bomber was worn on top of a long coat and paired with flowy trousers. A classic navy duffle coat was given a Sacai touch by having its fastenings tilted to the side. A double-breasted pinstripe jacket was teamed up with a matching skirt and trousers. The looks were accessorised with incredibly desirable faux-fur accents, from collars and tightly-tied dangling scarfs to a stand-out chunky clogs/boots hybrid - a shoe of the season!

Words by Martin Onufrowicz

GMBH FW24

The GmbH Fall/Winter 2024 show was opened by a heartfelt speech given by co-founders Serhat Işik and Benjamin Alexander Huseby, calling for a ceasefire in Palestine. The Berlin-based duo both come from a mixed cultural and religious background and their brand GmbH, born on the dancefloors of the German capital, has been supported from the start by the tight and diverse community of the techno scene. The brand’s collections are known to be political and offer a platform for voices to be heard internationally. In fact, this isn’t the first time that Işik and Huseby have shown their support for Palestinians as they previously released a “Free Palestine” capsule collection in 2021. In a time where the norm is to be politically correct, calling for peace is a mark of bravery.

The collection is an emotional piece as well as a political commentary. The show is opened by one of the GmbH signature tailored silhouettes. This time, the collar of the black jacket is inspired by the shape of a keffiyeh, a black and white checkered scarf symbolizing Palestinian unity. This look is followed by a hoodie featuring a faded version of the United Nations logo and the slogan “Untitled Nations” printed on its back – the tone is set. The keffiyeh collar mentioned previously is present in numerous looks, sometimes in its original checkered pattern. The fashion encapsulates the utilitarian and techno roots of the brand as numerous of their “icons” have been reworked this season with newer textures such as a mock-croc used on a double-zipped trouser and squared-toe boots. The casting of models includes friends and family members of Işik and Huseby, including fashion designer Dilara Fındıkoğlu – some are protected by balaclavas. A T-shirt adorned with a slice of watermelon acts as a final homage to the Palestinian people. Indeed, the fruit shares its colours with the Palestinian flag. Again, Işik and Huseby are here to remind us that the only answer is peace.

Words by Marien Brandon

BALMAIN FW24

With his latest Balmain Menswear offering for Fall/Winter 2024, Olivier Rousteing showcased his take on the always-compelling merge of fashion and art. The collection started with a wink (or kiss) to the audience. The opening looks – a crystal-embellished top, a white shirt with a matching tie, and a red and black printed total look – all featured surrealist depictions of lips, a well-known signature of the French designer. Following this humorous beginning, the collection went towards Rousteing’s explorations of his African roots, with vibrant silhouettes referencing La Sape, a Congolese dandy movement, and vivid painterly looks created in collaboration with the Ghana-based artist, Prince Gyasi. This part of the show provided an incredibly moving stand-out moment when one of the artist’s works, printed on a matching set, was brought to life by three models following behind. Never shy to embrace maximalism, with his latest collection, Rousteing proved once again that he always finds creative and touching ways to show that more is indeed more.

Words by Martin Onufrowicz

VALENTINO FW24

Maintaining the standard he has set for himself, Pierpaolo Piccioli presented a Valentino menswear show that revolved around the colour of the sky. Appropriately named Le Ciel, the collection reflects on the changing ideals of masculinity.

Initially most closely associated with femininity, blue has grown to be the identifying colour of the male gender. For Valentino’s menswear Fall/Winter 2024 show, Piccioli once again utilizes colour to deepen the meaning of clothes. Vibrant hues serve to subvert traditional masculinity in clever ways.

Before the introduction of the theme that centres the collection, the Italian designer started with multiple monochromatic black looks. Following its main inspiration, colour started to gradually appear on the catwalk. First, just as a pop of pink but eventually, as the sun rose, intense burgundies are paired with light pastel shades. Masterfully blending hues, looks that complement muted lilacs with deep reds stand out.

Eventually, as the show progresses, the protagonist appears. Shy at first, present only in turtlenecks, blue takes the main stage towards the middle of the collection. Before we know it, vibrant iterations of the shade possess entire looks, from sparkly oversized polo shirts to sailor collar knits.

Vivid turtlenecks hide behind tailoring. Unexpected sparkles monopolize Harrington jackets. The “Altorilievo” technique introduced in the last womenswear collection is revived in a grey coat. In a show that tackles the complexities of modern masculinity, subverting suiting was a clear priority.

Words by Pedro Vasconcelos

KENZO FW24

External inspiration is expected in any given collection. Just this menswear season, we've had JW Anderson’s take on Eyes Wide Shut, Emporio Armani’s allusions to transatlantic travel, and even Gucci referencing their last womenswear collection. Even so, Kenzo’s Fall/Winter 2024 point of reference was surprising, drawing inspiration from the Star Wars saga.

If the previous statement conjures up images of copyrighted characters on printed jerseys, one will need to be blindly unaware of Nigo’s work. For his fifth collection for Kenzo, the Japanese designer was inspired not by the iconography of the films but by the methodology of its costume design. Drawing inspiration from Eastern Asian garments, the reference points for its costumes were masterfully blurred.

Echoing this approach, Nigo sought to infuse historic Japanese garments into Kenzo’s offerings without summoning immediate comparisons. Firefighter uniforms from the Edo Period transformed into cleverly geometric prints. Rigid denim suits replicated the style of Japanese school uniforms. Karakusa prints were abstracted into embroideries on bags.

At times, and particularly with the few womenswear looks sprinkled throughout the collection, the source material is more evident. Gold catsuits were worn underneath dresses, teasing a C-3PO reference. Heavy brown robes draw immediate comparisons to Jedi uniforms. Ultimately, the collection was a sophisticated take on Kenzo’s usual offerings, projecting an exciting future for the brand’s legacy.

Words by Pedro Vasconcelos

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