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

GUCCI FW24

In his sophomore collection, Sabato De Sarno solidifies his vision for Gucci. After two ready-to-wear collections that mirrored each other, his second womenswear show demonstrates his ability to usher in a new era for the Italian brand.

With a strong emphasis on craftsmanship, the designer draws inspiration from Gucci’s ancient history. The dedication to technique is beautifully exemplified in this season’s outerwear. Boxy peacoats are expertly cut. Oversized leather jackets conceal the brand’s monogram. But his vision shines through in the long coats that, while draping beautifully on the body, are also extensively adorned at the bottom. The cacophony of sequins creates an almost fluid sense of movement as the models walk. It’s this interplay between craft and adornment that defines the new Gucci.

The heavy outerwear is punctuated by delicate slip dresses, some in rich velvet, others in unbelievably complex lace. They were complemented by the knee-high boots that stole the show, in shades of Ancora red, black or green.

De Sarno’s tenure at Valentino appears to have paid off. The designer expands Gucci's colour palette beyond his last two collections, where the already classic Ancora red was masterfully mixed with deep navy blues and funky greens. This season, pale yellows and bubblegum pinks are added to the chic rainbow.

Words by Pedro Vasconcelos

EMPORIO ARMANI FW24

The days are getting warmer and start to feel more like Spring. The models at Emporio Armani are smiling big. Nature is healing. 

Emporio Armani's Fall/Winter 2024 offering is everything you would expect from the brand – in the best way. The allure is strong. The Emporio Armani cult classic silhouette pairs flowy blouses with boyish trousers, sometimes elevated with a velvet oversized jacket or a fuzzy coat thrown on top. Not every brand needs to reinvent the wheel season after season! Emporio Armani has a defined style which appeals to their customer base and taps into the idea of timeless Italian elegance. There is no need for innovation here.

The fashion tells a celestial story and features hues of midnight blues and marines, as well as a dominant of black. The looks are adorned with prints and embroideries referencing directly or in an abstract manner the shape of stars and constellations. The accessory offering is strong and brings fun, pop elements to the looks with embellishments such as sequins, feathers or intricate embroideries, adding a touch of glamour to the mature Armani look. The show is closed by a group of models merrily strolling, umbrella in hand, as a rain of silver glitter falls onto them; resulting in a joyful and heartwarming moment.

Words by Marien Brandon

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

FENDI FW24

For the past few years, Kim Jones has been honing down on the Fendi woman. This season, he zoomed in on her perfectly. By tapping into the brand’s archives, primarily Karl Lagerfeld's designs in 1984, he projected a feminine blend of Italian elegance and British edge. 

Much like the models that, on the runway, subtly appeared from behind curtains, the inspiration for the collection was revealed discreetly. Long coats with circular cuts created mandarin-like collars. Shorter jackets replicated the shape but replaced the geometrical fluidity of its cut with austere elegance, tactfully tucking at the waist to flare out immediately after.

Besides the nod to the Japanese style obsession of 1980s London, Jones emulated Leigh Bowery’s polka dots. Depleted of its campy edge, the pattern assumed an odd chicness. 

Over and under the knee squared-toe boots punctuated the collection. The shoes, despite their usual association with jovial style, were transformed under Jones’ command. No longer youthful, the only adjectives to describe knee boots are now sexy and elegant. A must for any (grown) woman’s wardrobe, especially when layered under sheer skirts. 

The show concluded with prints of Roman statues, encapsulating the New Romantic feel of the collection perfectly.

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

RICK OWENS FW24

Rick Owens remains in a lane of his own. For his Fall/Winter 2024 show, the designer presented a pared-down collection — a reaction to what he calls the "barbaric times we're living in." Unlike his previous shows, often staged in the grand Palais de Tokyo, this season the designer invited a select few to his Paris home, where he showcased an intimate offering.

Guests were invited for a metaphorical and literal homecoming. Named "Porterville," the collection shares a name with the town where the American designer grew up. The show featured Owens’ staples: bulbous puffer jackets, massively disproportionate leather jackets, and restrictive hairy loops. However, the immediate standout from the collection was the inflatable boots. These extraordinary pieces, which brought an added futuristic spirit to the collection, were prophesied by the designer as utopian hopes.

The monstrous proportions of Owens’ designs were magnified, in response to what the designer states as "the most disappointing human behaviour we will witness in our lifetime."

Words by Pedro Vasconcelos

LOEWE FW24

Muses are often perceived as female figures. Leave it to Jonathan Anderson to subvert this notion. For Loewe’s Fall/Winter 2024 show, the venue transformed into a sanctified space, adorned with moving stained glass windows depicting Anderson’s greatest muses.

The effervescently colourful moving displays were mirrored in bags, trousers, zip-up hoodies and maxi dresses — all crafted in collaboration with the artist Richard Hawkins, renowned for his vivid homoerotic collages.

Anderson’s omnipresent surreal twists manifested in the form of all-in-one looks that seamlessly combined pants, socks, and shoes. Speaking backstage, the Irish designer referenced the inescapable impotence of modern media as his inspiration for these pieces. This concept was further explored in extraordinarily elongated pussy-bow blouses that challenged modern definitions of masculinity.

The collection delivered the final blow to the notion that we must wear pants in wintertime. Building on the absence of trousers from this season’s JW Anderson’s show, models strutted in coats that just reached above the knee, baring their legs. Bundle up, it'll be a cold boy winter.

Words by Pedro Vasconcelos

DIOR MEN FW24

In Kim Jones' Dior, collaborations reign supreme. However, for the Maison’s menswear Fall/Winter 2024 collection, inspiration came directly from the British designer’s bloodline. Renowned photographer Colin Jones often collaborated with ballet dancer Rudolf Nureyev. Sixty years later, his nephew referenced the performer through the Dior lens.

Ballet flats, crumpled berets, A-line shorts: the collection felt like a luxurious take on the imagination of a ballet dancer. Inspired by Nureyev’s style both on and off stage, the offering exuded an elegant simplicity. It was wonderfully neutral, except for the occasional pop of colour. Jones’ interpretation of a dancer’s wardrobe is ironically vivid.

Arguably the most exciting aspect of the collection came at its tail end. No, not the rotating structure that had the models centrifugally spinning, but its couture capsule. After seasons of teasing a couture collection for men, Jones finally pulled the trigger. Crystal-embellished knit cardigans, unbelievably ostentatious kimonos – it was a definite feast. In an industry that still ties men’s elegance with ties, Jones dared to dream a little bigger. The collection's pinnacle came with Debussy gown-inspired embellishments on transparent blouses and matching sets.

Words by Pedro Vasconcelos

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