The Business of Fashion
Agenda-setting intelligence, analysis and advice for the global fashion community.
Agenda-setting intelligence, analysis and advice for the global fashion community.
MILAN, Italy — After his show for Jil Sander on Saturday, Rodolfo Paglialunga admitted he'd been scared of the design DNA of the label. It was a tough mantle to assume, heavy with preconception, and he was right to worry. It flattened him.
But his new collection had a 'what-me, worry?' lightness that suggested he’d found a way round the legacy. He insisted, for one thing, that he wasn’t out to make a statement. So silhouettes were long and languid, dresses were sashed or casually knotted, tops had a built-in slouch that left them hanging off one shoulder.
The fluidity of satin, the déshabillé of slashed-seam deconstruction, the way that a leather coat dress was belted with a strip of vinyl tubing or straw hats were randomly tacked to fit the models' heads all contributed to a winning carelessness, which seemed exactly the right way to introduce some healthy new strands into that po-faced DNA.
From where aspirational customers are spending to Kering’s challenges and Richemont’s fashion revival, BoF’s editor-in-chief shares key takeaways from conversations with industry insiders in London, Milan and Paris.
BoF editor-at-large Tim Blanks and Imran Amed, BoF founder and editor-in-chief, look back at the key moments of fashion month, from Seán McGirr’s debut at Alexander McQueen to Chemena Kamali’s first collection for Chloé.
Anthony Vaccarello staged a surprise show to launch a collection of gorgeously languid men’s tailoring, writes Tim Blanks.
BoF’s editors pick the best shows of the Autumn/Winter 2024 season.