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

SAINT LAURENT SS24

 It's customary that the Eiffel Tower illuminates the Saint Laurent show but for the Spring Summer 2024 show, Catherine Devenue’s voice articulated it. The actress’ voice reverberated through the marble venue as the collection was shown. Devenue’s presence is inferential in a show that heavily references Yves Saint Laurent’s take on femininity. The actress and the designer had a long-lasting friendship.

 Following the steps of Saint Laurent himself, Anthony Vaccarello presented a reflection on unapologetic strong femininity. The show opened with a pair of boiler suits that prophesied a collection filled with utilitarian-inspired garments. The iconic safari jacket was reconfigured under Vaccarello’s vision, with a looser fit and cinched with a powerful leather belt. The collection was inspired by women in male-dominated fields. A fact that became wildly apparent when aviator inspired fits drifted down the runway.

 As the show concluded, softer silhouettes and transparent textures appeared, diversifying the collection’s range. Even through completely distinct pieces, there was a unifying undertone, a slightly austere aesthetic — a departure from last season’s exaggerated power suits.

 The accessories contrasted with the more restrained pieces. Geometric earrings that mixed gold and silver were ostentatious. Sky-high heels complemented deliciously supple leather gloves, proving that, to the Saint Laurent woman, elegance and strength are synonymous.

Words by Pedro Vasconcelos

CHRISTIAN DIOR SS24

“My body is not a product. It’s not a bargaining chip,” graphic words fill the venue of Christian Dior’s Spring Summer 2024 runway show. “I am not a space between your pages,” they continued. “I am not her,” read throughout the show, not coincidentally the name of the immersive video collage created by the artist Elena Bellantoni. Similarly, to the images that framed it, Maria Grazia Chiuri’s collection was an analysis of femininity and feminism.

 In contrast with the LED walls that contained the show, powerfully illuminated in shades of pink and yellow, the collection’s color palette was undoubtedly neutral. Black and white pieces were only broken up by the occasional beige in the shape of pleated skirts and tailored suits.

 Throughout the 78 look collection, there were quite a few standouts. From blurred Paris city maps to X-ray versions of the iconic Mille-fleurs, the prints featured in dresses and long coats were remarkable.

 The collection had an overall darker and edgier feel than past Christian Dior collections, frequently evoking the imagery of witchcraft. A midi skirt and oversized jacket set appeared to be burned off at the edges, a nod to the fires that burned the witches of the past. Full-length lace gowns possess a vintage appeal that somehow appeals to the supernatural. The message is clear. Maria Grazia Chiuri is addressing the patriarchy directly.

Words by Pedro Vasconcelos

BOTTEGA VENETA SS24

Through the direction of Matthieu Blazy, Bottega Veneta has become one of the most consistently exhilarating luxury brands. Its Spring Summer 2024 collection proved that exact point, rooting itself in the book “On the Road” by Jack Kerouac. The inspiration was clear. Blazy intertwined classic house codes with aesthetics from all over the world, keeping enough distance to avoid cultural appropriation accusations while creating a diversified yet cohesive collection.

 From fringed leather dresses to the extremely shareable pom pom dresses, the collection felt more adventurous than usual. But its unusual boldness was balanced by smarter looks, like the drool-inducing office wear accessorized with oversized bags.

 The leather pieces were, as always, a standout. Blazy continues his exploration of leather as a covert fabric. This season, this idea is expanded to oversized leather sweaters and coats woven to emulate tweed.

Words by Pedro Vasconcelos

GCDS SS24

Giuliano Calza’s latest collection was an homage to the Southern part of his homeland and more specifically, the hot nights in Naples. The palette was complimenting sun-kissed skin – light blue and yellow and warm brown – and the silhouette was sexy (a GCDS signature).  Particular standout designs were the elements created out of flat ironed raffia – a reference to his grandmother’s classic wooden furniture. As for the accessory of the season? The beaded ballet flats for men, worn with frilly lurex socks, are what our Neapolitan dreams are made of.

Words by Martin Onufrowicz

FENDI SS24

The front row has become the focal point of fashion month, eclipsing the original intent of a runway show. Kim Jones’ Fendi proves that there’s no need to choose between them. For its most recent show, the room was filled with the typical paparazzi bait (Naomi Campbell, Kate Moss, etc.). And yet, the collection was the subject of the headlines.

 For his Spring Summer 2024 collection, Jones’ muse was the sculptural beauty of Rome, observed in both its classical statues and its women. Long dresses are devoid of any draping, revealing its columnar inspiration.

 Sleek shapes are paired with color blocking that intertwines neutral browns with vibrant hues. Jones often references Karl Lagerfeld's legacy at Fendi, but this season, the intention was clear, particularly in looks that reworked Lagerfeld’s geometric prints.

 Beautiful dresses were adorned with reasonable heels and ladylike gloves. The show had an air of timeless elegance, with simple and chic styling.

Words by Pedro Vasconcelos

PRADA SS24

For the Spring Summer 2024 collection of Prada, Miuccia Prada was clear: it’s about the clothes. Speaking to reporters backstage, the designer expressed her animosity towards the cryptic conversations about her creations. Thankfully, the collection had plenty of clothes worth talking about.

 Despite the assertiveness of Prada’s statement, there was a fun act in the show. The slow dripping slime was revived from the menswear collection shown in June. That wasn’t the only similarity between the presentations - the emphasis on silhouette and movement was another common denominator. Like in the men’s show, light blazers with bold shoulders were smoothly tucked in A-line shorts. 

 However, the show had a much lighter - dare we say feminine - feel. The fringe featured in the menswear collection was now embellished with crystals. Movement was explored in different ways, but most strikingly in shift dresses with panels of silk organza that flew tenderly as the models walked (an effect that has made the internet name them “jellyfish dresses”).

 The show ended on an emotional note when Prada and Simons were joined by Fabio Zambernardi for their finale bow. Zambernardi is leaving his position as design director after four decades with the brand.

Words by Pedro Vasconcelos

BURBERRY SS24

With his new collection for spring, Daniel Lee presented a playful and inspired play on one of the house’s most recognisable signatures – the knight on a horseback logo.

The detail was explored in the form of prints covering dresses and shirts – which sat on the body in the most elegant way – as well as more straightforwardly in the show’s final look: suit trousers (worn sans shirt) cinched with a belt with an oversized buckle, which is sure to become a bestseller item.

The desire to experiment with house codes was also present in Lee’s take on outerwear – particular standouts included trench coats with a dropped waist and a shearling military-inspired jacket in the now instantly recognisable Burberry blue.

Words by Martin Onufrowicz

GUCCI SS24

In a space riddled with darkness, the most exciting 15 minutes of the entire fashion month are about to take place.It’s Sabato de Sarno’s debut as Gucci’s creative director, the moment the fashion world has been eagerly waiting for since November last year after Alessandro Michele’s departure.

 The expectations are high. For decades, Gucci has materialized the deepest desires of the zeitgeist. From Tom Ford’s sexiness to Alessandro Michele’s maximalism, the brand’s eras are artifacts of what fashion meant at different times. The weight of the world sits on De Sarno’s shoulders. And yet, as the lights finally reveal the first model, the pressure seems to vanish. All everyone can think about are the clothes that suddenly appear.

 The first looks are sleek but sexy, with a minimalist approach that begins to weave the story of De Sarno’s vision. Neutral blazers, patent leather minidresses and long coats open the collection. This is the new Gucci. A slick white mini dress comes out that, despite its simplicity, is reminiscent of the daintiness of chantilly.

 But, if the collection began on a lighter note, we were soon reminded that, regardless of a new director, it’s a Gucci show we’re experiencing. Tops that are as tiny as they are sparkly appear, obviously accompanied by matching bags. The sparkles run through the collection, later embellishing colorful pinafore dresses. Finally came lingerie-inspired pieces that combined cherry red vinyl with black lace in a combination that can only be described as devilish.

 The accessories were impeccable. Monumental horsebit loafers framed the collection, providing a different interpretation of one of the brand’s most recognizable pieces. Colorful bags paired impeccably with each look that walked down the runway, reminding us the true purpose of an accessory is to complement and crystalized stilettos swept the floor with long fringes.

 Appropriately named “Ancora” (the Italian expression for again), the collection felt like a mindful consideration of what Gucci was and what it can be. Sleek. Chic. Cherry red. It's the dawn of De Sarno’s era.

Words by Pedro Vasconcelos

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