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 — Behold, the movie! Fausto Puglisi opened his endless show with an allegorical movie about matriarchy, entitled Southern Vertigo. It was a kitshy affair: so pretentious yet homemade in feeling, it looked hilarious — a merge of ancient Rome and contemporary ghetto.
It did not add anything particularly relevant to the narrative of the show, apart from an air of the sacred and the outlaw. "We are not all like you," declared the protagonists in the end, in thick Neapolitan dialect. The Puglisi glamazon is a papessa nowadays: a woman pope, all brocades, feathers, opulence and large hats. The parade of sliced dresses and terrific bomber jackets went on forever. Puglisi seems to be finally getting out of his Versace obsession, that's for sure. Now he needs to find some narrative focus, and a dash of concision.
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.