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.
LONDON, United Kingdom — Whilst much is made of the brash, punk image of London fashion, it is rare that such a worldview is paired with an artisanal hand. This is why Faustine Steinmetz stands out from the pack, with her four-year-old label that applies laborious weaving techniques to create subversive 'denim' creations.
For Spring/Summer 2017 these ranged from sheer, filmy workwear jackets to isolated jean pockets and waistbands worn as accessories in an ombré metallic logo jacquard. Other iterations in her predominantly white and indigo palette included asymmetric skirts cut in a striated weave or dense spaghetti-like fringe, both proof of Steinmetz’s evolution in new directions towards both product and technique.
The season's stand-out, however, was a crumbling pair of crystal jeans painstakingly realised with the help of Swarovski. They'll most certainly be missing from the season's line sheet, yet exercised the designer's unique spin on handcraft better than ever.
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.