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

EMPORIO ARMANI FW24

Upon a sea of darkness, a light suddenly shines. The Emporio Armani Fall/Winter 2024 show starts before any clothes make it down the runway. A black lighthouse shines as Loredana Berte’s voice sings “Il Mare D’inverno”. The first look reveals the nautical theme isn’t a mere set decoration, it’s the through line for the collection we’re about to witness. A thick navy coat with precious gold buttons is topped with a stylized sailor hat.

The theme is prevalent in the first section of the collection, with sailor collars and white and navy stripes galore — all through the lens of Armani’s sophistication. Eventually, the nautical narrative waned, giving way to boxy jackets in tones of grey and taupe. 

After a brief excursion into skiwear, the Italian house’s staples appeared. Beautifully tailored suits and leather ensembles appeared, with neckerchiefs that tied them to the lighthouse still radiating in the back. 

Speaking on the collection, Mr. Armani references the Atlantic crossing, taking inspiration from the bravery necessary to crossover. Perhaps a parallel to the journey he made to turn him into a legend of menswear. A status that is reinforced with his latest collection.

Words by Pedro Vasconcelos

FENDI FW24

What do Silvia Venturini Fendi and Princess Anne have in common? That is, besides being influential women from royal families (the first proverbially monarchic, the second literally). Surprisingly, their fashion inclination. For Fendi’s latest menswear collection, the Italian designer took inspiration from the princess’ wardrobe, effortlessly encapsulating rural femininity.  

Kilts in earthy neutrals offset waterproof wax jackets. Delicate knit cardigans juxtapose flat-front checked skorts. As usual, the accessories reign king from top to bottom. From wax hats that pointed us directly to the source of inspiration, through the oversized bags, all the way to Wellington boots on the feet. 

Never one to dismiss heritage, Venturini Fendi cleverly rethinks the fabrics most associated with the Roman brand. For Fall/Winter 2024, leather is utilized in decadent wide-leg trousers. Suede is made to resemble pillowy corduroy that bounces as models zigzag around elongated brushed steel FF monograms. 

Words by Pedro Vasconcelos

MSGM FW24

Massimo Giorgetti latest offering for his brand MSGM was an ode to the fast-paced rhythm of his home base, Milan. The show took place at Porta Venezia, a metro station celebrating 60 years since its inauguration in 1964. In an Instagram post released before the collection, Giorgetti spoke about the resonance of the transportation network in the context of the city’s social landscape, writing: “It is the moving space where the city’s energies converge like invisible rivers, the great social equaliser where differences dissolve, in the constant noise of trains travelling towards a shared destiny.”

 

When it came to the clothes, Giorgetti’s nods to his favourite mode of transportation were in abundance – from the vibrant colour accents that referenced the signage of the metro lines to the prints on silk shirts and shorts showcasing images from the stations. The collection was an exercise in excellence when it came to desirability, with roomy wool coats in red and camel, glistening fuzzy knits and shiny puffer sets being particular standouts. Giorgetti’s signature humorous approach to accessories was this season explored with chunky Mary Janes, furry scarfs and speedy sunglasses – perfect for making you look a lot more alive during your next morning commute.

Words by Martin Onufrowicz

DOLCE & GABBANA FW24

For the past couple of seasons, Domenico Dolce and Stefano Gabbana have been going back to their roots and presenting a more streamlined vision of the D&G man. This tendency continued with today’s FW24 show, aptly titled ‘SLEEK’ – the double-breasted coats were cut to perfection and the tailoring was as sharp as ever. Even the jeans – worn with silk blouses, velour jackets and a decadent (faux) fur coat – were crafted with incredible precision, making them appropriate attire for refined evening occasions. Many of the looks were adorned with an accessory that is quickly becoming one of the items of the season – a silk tie, here paired with wool coats and sequined jackets or used as a bow on top of a button closing the blazer. With their latest offering, one thing is clear: D&G remain the masters of creating garments filled with elegance and sensuality.  

Words by Martin Onufrowicz

GUCCI FW24

“Ogni tanto, lo so, sogni anche tu, e sogni di noi” (“Every now and then, I know, you dream too, and you dream of us”). The artist Valerio Eliogabalo Torrisi’s words painted a wall in Milan in preparation for the Gucci Fall/Winter 2024 menswear show. Coincidentally, that’s all we’ve been doing for the past few days, dreaming of Sabato De Sarno’s second collection. Or rather, after Gucci’s new (Ancora) red-hot campaign, wet dreaming. 

We hoped De Sarno’s first menswear offering would carry the same sensuality. Our prayers were heard. But, much like his earlier debut, the Italian designer defines sexy on his terms. Heavy chains grasped the models’ necks while their chests were exposed under heavy coats. Jackets were worn with nothing underneath except for ties with clasps that gave them a collar-like quality.   

The show opened with a familiar sight, a male counterpart to the opening look of his debut womenswear collection. Between cement pillars of the venue, a similarly neutral palette emerged, interrupted only by subtle pops of colour. Leather gloves, both in muted lime green and the now characteristic cherry red matched the bags they grasped. 

Despite the sensual sobriety of the collection, there was an underlying opulence. Whether on the collar of oversized cardigans, on trousers or drowning a sailor collar, sparkle is a definite neutral in the designer’s book. 

De Sarno furthers his creative narrative with his second collection for the Italian heritage brand. In a show that acted as the brother to his womenswear debut, the designer reaffirms the new Gucci codes.

Words by Pedro Vasconcelos

ACHILLES ION GABRIEL FW24

When it was announced that Achilles Ion Gabriel would launch his namesake brand, there was a sense of general excitement. The Finnish designer has become synonymous with surrealist footwear throughout his tenure in the industry. But would he be able to expand his point of view upwards on the body? The answer: objectively yes. 

His Fall/Winter 2024 show was a natural extension of the creative vision he’s familiarized us with. The accessories and footwear were, as expected, a standout. Long belts adorned both the model’s waists and shoulder bags. Cowboy boots had metal tips that read “Move Bitch”. 

The Finnish designer started from the ground up, introducing wardrobe essentials with a Gabrielian twist. Wrinkled suits, shirts with detached collars and fur-lined denim jackets. Additionally, we got to see the birth of the brand’s codes —arguably the most compelling aspect of a debut collection. CAMPERLAB fans might recognize some of Gabriel’s staples: painted leather, cowhide and the grey-blue shade that now acts as the brand’s official colour, appropriately named AIG blue. 

If last season the industry’s game of moving chairs had set our standards low for debut shows, Achilles Ion Gabriel moved them back up.

Words by Pedro Vasconcelos

ANN DEMEULEMEESTER SS24

Change is in the air. Sabato de Sarno in Gucci, Louise Trotter for Carven, Peter Do in Helmut Lang. This season is one of fresh starts. The last new beginning of the fashion month came through the courtesy of Ann Demeulemeester. After last season’s controversy (Ludovic de Saint Sernin produced one collection before parting ways with the brand), it’s Stefano Gallici’s turn. The creative director has been with the house since 2020, working as a menswear designer.

 It’s clear that Gallici has different strategy than his predecessor, relying heavily on the brand’s DNA. For its Spring Summer 2024 collection, the designer made sure to reference Ann Demeulemeester’s tropes while adding a utilitarian flair. The presentation’s point of view was rooted in the brand’s 90s aesthetics.

 The bare skin of last season was replaced with the transparency of fabrics that mysteriously revealed the models' bodies as they moved. Sheer gowns, gender-neutral tailoring, satin dresses: all under a black and white palette only interrupted by bold blues.

 Gallici seemed to reply directly to Saint Sernin’s critics. The creative director’s debut collection is undoubtedly Ann Demeulemeester

Words by Pedro Vasconcelos

LOUIS VUITTON SS24

The venue for Louis Vuitton’s Spring Summer 2024 presentation was wrapped in orange tarpaulin, a material often used on hot air balloons. And it didn’t just look cool. The scenario was also an allusion to the show’s inspiration: the old glamour of traveling. Nicolas Ghesquière took the theme to heart, producing clothes that can easily be packed in one of Louis Vuitton’s emblematic trunks.

 It wasn’t just the weight of the clothes, everything down to the way the fabric creased was considered. With that goal in mind, the collection opened with multi-layered chiffon skirts, the type of piece that remains flowy no matter how wrinkled it might get in a suitcase.

 Flowy tops, statement belts and shoulder pads: the collection was undoubtedly Ghesquière. The white tights used to accessorize some looks were a fan favorite online. Could this mean a renaissance for the piece?

 The standouts were the heavily embroidered yet somehow lightweight shirts and dresses. Bugle beads were used to create sophisticated patterns, most notoriously in two slip dresses towards the end of the show. The thin glass beads create a wet brilliance, giving the pieces a trance-inducing shine. Now all we need is a holiday as an excuse to pack them.

Words by Pedro Vasconcelos

CHANEL SS24

One thing was abundantly clear for Chanel’s Spring Summer 2024 collection: Virginie Viard is reinstating Coco Chanel’s legacy. The legendary designer is single-handedly responsible for the French girl chic aesthetic. Viard is updating her lexicon.

 Unlike her predecessor, Karl Lagerfeld, who had a knack for spectacles, Viard focuses on the clothes themselves. For her latest collection, the French designer references the Maison's history, taking inspiration from 1930s beachwear.

 The show opened with tweed jumpsuits and maxi dresses with plunging necklines, giving the fabric an expected sensuality. As the collection progressed, swimsuits appeared that, though appearing simple at first, were cleverly quilted to resemble the iconic Chanel bags.

 References to the brand’s DNA were frequent but not necessarily obvious. A pink-striped lightweight maxi dress was a clear reference to Coco Chanel’s own creations. Asymmetrical terrycloth sets stood out, proving the designer is willing to expand Chanel’s narrative. 

 Towards the end of the collection, transparency and florals reigned, providing the collection with a delicately feminine close. Viard is not reinventing the wheel but she’s doing something equally as impressive, she’s keeping it spinning.

Words by Pedro Vasconcelos

MIU MIU SS24

This season, Miuccia Prada takes us to school, more precisely summer school. For Miu Miu’s Spring Summer 2024 collection, the Italian designer elaborates upon the brand’s preppy aesthetic.

 The show opened with navy blazers paired with blue checkered shirts and polos tucked into swim shorts. The no-pant look Miu Miu has become synonymous with felt surprisingly natural. Maybe it was the model’s wet hair. Perhaps it was the fogged-up glasses. But Prada made us believe in a private school by the seaside, where students dip into the ocean between classes.

 Leather sets with bandana tops and low-rise skirts stood out in the collection, appearing in black and mustard yellow versions. The classic Miu Miu embroidery first materializes in a golden dress with a plunging neckline, quickly followed by a turtleneck dress with flowers of the same shade against a dark background.

 Troye Sivan, Cailee Spaeny and Mame Bineta Sane: this season’s runway was a who’s who of fashion darlings. One thing is clear, the main character wears Miu Miu.

Words by Pedro Vasconcelos

BALENCIAGA SS24

The Balenciaga show was a festival of icons – from French national treasure Isabelle Huppert reading an instruction on how to tailor a jacket in the soundtrack to fashion über-critic Cathy Horyn and queer legend Amanda Lepore walking the runway. In a similar spirit, the garments created by the house this season were a play on Demna’s instantly recognisable design codes – jackets were built with hyper-sized shoulders, trench coats were deconstructed and sneakers larger than clown shoes were paired with the tiniest of sweatsuits. The models seemed to be on a journey – carrying big travelling bags, wearing hotel bathrobes and furry slippers or even holding onto their passports and train tickets with the destination of Geneva (Demna’s home base). The purpose of their excursion? Yet unknown. But the clothes they are wearing will keep them protected whatever the reason might be.

Words by Martin Onufrowicz

VALENTINO SS23

For Valentino’s Pierpaolo Piccioli, exploring the power of the feminine body was the focal point of his latest collection. In the show, presented at the Ecole des Beaux-Arts in Paris, the Italian designer showed his stance against the recently rising conservative moods in his home country of policing women’s bodies and blaming their appearance for harassment they may face.

The presentation opened with a series of intricate laser-cut dresses which strongly addressed this point. In these stand-out pieces, the decorative elements were treated as the basis of construction, with three-dimensional lilies and doves being interwoven together to create a garment.

The raw feminine energy was also felt in the fabrics chosen throughout  – thick linen was used to create a mini dress with cut-outs on the sides and a spectacular cape embellished with sirens, while silk became the basis of tailored suit jackets and floor-length t-shirt gowns with a slit going all the way to the hip bone.

As the models walked around the performance by Piccioli’s close collaborator, FKA Twigs – an artist so well-known for using her athletic physique in her hypnotic productions – his vision could not be clearer. At Valentino, the goal is to give women the ultimate freedom to express themselves in any way they please.

Words by Martin Onufrowicz

RICK OWENS SS24

“I still believe in love.” Diana Ross’ voice echoes through the courtyard of Palais de Tokyo. Through incessant repetition, Ross’ words become a chant. Yellow and fuchsia smoke, along with rose petals, fill the air. For his Spring Summer 2024 show, Rick Owens turned the Parisian venue into an archaic temple.

 The show opened with characteristic pieces. High-waisted jeans, bra tops and impossibly narrow fishtail gowns all in the typical black. But, as the collection progressed, its inspiration grew clearer: love. Shades of pink, red and orange gave the pieces a romantic essence.

 Pointed shoulders on bomber and leather jackets grew every time they came down the runway, eventually transforming into Venus fly trap collars, ready to consume the model’s head. Their black contact lenses added to the sensation that the procession these models were on was a sacrificial one.

 Impossibly draped dresses in shades of pink and red were magnificent, creating alien-like silhouettes. The collection ended with billowing bodysuits whose flowing capes meshed right into the colorful atmosphere of the show.

Words by Pedro Vasconcelos

CARVEN SS24

There’s something magical about the start of a new era at a brand, an exciting limbo where everything is possible. These expectations are responsible for the frequent disappointment with the first collection under the new creative direction. Fortunately, Louise Trotter has nothing to worry about. For her debut at Carven, the British designer successfully presented her vision for the Parisian Maison.

 Ahead of its Spring Summer 2024 collection, Trotter had voiced her desire to start the brand anew. Luckily, that didn’t mean total erasure of the brand’s identity. Established in 1945, Carven was known for its hourglass silhouette. The new creative director referenced it through powerful shoulders and nipped-in waists.

 Throughout its 40 looks, the designer is redefining simple wardrobe essentials. Cinched trench coats, transparent white shirts, elegant black dresses. Carven’s new aesthetic is thoroughly refined.

 Simplicity does not mean boring. Trotter made sure to explore different textures to add interest. Sheer skirts and tops were a standout in the collection, especially when layered on top of heavyweight short dresses. Similarly, the beading of the accessories didn’t go unnoticed, adding an element of fun to an utterly chic collection.

Words by Pedro Vasconcelos

LOEWE SS24

Simplicity runs through most collections in the ongoing Paris Fashion Week. As designers read the proverbial room of the times, the trend seems to be to pull back. But Jonathan Anderson proves that the shifting aesthetic sensibilities don’t necessarily mean tedious clothing. The designer focuses on daywear in Loewe’s Spring Summer 2024 collection, taming his usual surrealist approach.

 The fluidity of beautifully draped skirts was at odds with the constriction of interesting cocoon knits that immobilized the model’s bodies.

 Anderson brought back fan-favorite designs. The Polly Pocket like rubberized pieces made a comeback, this time in less amusing silhouettes and colors. The cotton candy palette is replaced with drearier colors: gray and dark green t-shirt and shorts sets are the natural evolution of sickeningly sweet skirts and polos.

 It’s clear the designer envisions a unisex season, with some crossover pieces from the men’s collection presented earlier this year. Both dress shirts and heavy-knitted jumpers are tucked into extremely high-waisted trousers, distorting the body’s proportions.

 But, besides the inspiration of previous designs, Anderson also introduced the next it silhouette a (literal) boxy top with flowy bottoms. An astounding yellow gown has a post it like neckline, contrasted by a cascading skirt of the same tone.

Words by Pedro Vasconcelos

TODS SS24

The Tod’s show was a brilliant exercise in exploring interesting ways of accentuating the waist – the opening looks showcased vests with a deconstructed detail paired with incredibly elegant knee-length pleated skirts and the bags in luxe black and burgundy leather were worn as belts. The garments played with the idea of a fantasy wardrobe of the chicest gallery owner in town – from day dresses and oversized knits worn with skirts cut below the knee to razor-sharp suits perfect for a buzzy exhibition reception. This was the last collection from creative director Walter Chiapponi, who is leaving the brand after four years, and his final take on the Tod’s woman was definitely a goodbye on a high note.

Words by Martin Onufrowicz

ACNE STUDIOS SS24

This season, Jonny Johansson succeeded in creating the most desirable and no-fuss garments with maximum effect. The aesthetic sat at the intersection of ladylike and naughty – the dresses were long and decorated with feathers, the coats were paired with see-through garments worn underneath and short daytime suits were constructed in leather – creating a wardrobe that will seamlessly take you from a luncheon to a rave. The silhouette was tight-fitting and accentuated the figure – a quality that was definitely appreciated by two big fans of the brand sitting front row, Rosalía and Kylie Jenner (who both wore looks straight from the runway). From Calabasas to Neukölln, you’re sure to see a lot of Acne’s brilliant take on sexiness next spring.

Words by Martin Onufrowicz

THE ROW SS24

The past year has been riddled with conversations on quiet luxury. The Row is often cited during these discussions. With its Spring Summer 2024 collection, the American brand proves it's not a part of the movement - it leads it. Mary-Kate and Ashley Olsen continue to be the authority on the art of the effortlessly chic.

 This season, the clothes felt more relaxed than usual, ideal for a Summer spent hidden away in a seaside town. The silhouettes were slouchy. Even the tailored pieces had a relaxed feel, the jackets were oversized, the trousers were drapey and the dresses were lightweight.

 The collection also marked the closest we’ve seen to The Row athleisure. Trench coats, shorts and even t-shirt dresses had a dignified casual feel.

 A multitude of elegant windbreakers paraded down the runway - we’ve never wished to be caught in a summer storm so badly.

Words by Pedro Vasconcelos

COURRÈGES SS24

The invitation for the Courrèges Spring Summer 2024 show was hidden within a slim stone. Under it was a request: “break to reveal.” As the stone crumbled in our hands, the invite was revealed. The venue’s floor had the same texture, and as the models walked through, it too began to slowly disintegrate. The use of this stone was not just a gimmick (even if a fun one) it bared the inspiration for the collection: a desert road trip. And what a trip it was. 

 Nicolas Di Felice created a collection with a specific point of view that managed to stay close to the brand’s DNA. Flowy shirts took the edge off crocodile leather trousers and skirts. Leather jackets resembled open shirts, somehow structural and light at the same time. 

 Towards the end of the collection, Di Felice infused the Space Age aesthetic most associated with Courrèges. Metallic and plastic bras had an almost astronautical edge. High-neck corset tops had an extraterrestrial feel. The show ended with a jarring embellished silver dress, the type we’d expect (or hope) an alien would wear to lounge in. 

Words by Pedro Vasconcelos

BALMAIN SS24

The Balmain collection made headlines even before Paris Fashion Week started when the brand’s creative director Olivier Rousteing announced on Instagram last week that over 50 pieces from the show were stolen during the transport. Despite this disruption, the clothes shown yesterday managed to bring the drama in its best kind. For the past couple of seasons, Rousteing has been presenting a more streamlined look for Balmain and the SS24 show was no exception. The aesthetic was deeply rooted in the glamour of the 1980s with a running motif of roses explored throughout the garments – from leather basket bags in the shape of wrapped bouquets and delicate polka-dotted pieces with big flowers sitting at the collarbone and waist to long high-shine trench coat and mini dresses covered in a vibrant print. In a way, the events of the past week really evoked the true powerful nature of the Balmain woman. As the models walked down the runway, they looked like heroines of Pedro Almodóvar’s classic films, ready for anything that comes their way.

Words by Martin Onufrowicz

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