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.
NEW YORK, United States — There's an Antonio Lopez retrospective on at the El Museo del Barrio in New York City right now, a serendipitous factoid that chimed well with the club kid nostalgia of Jeremy Scott's Spring/Summer 2017 lineup. LA's king of kitsch designed an ode to the city that never sleeps, for one of his more rough-and-ready collections of late that scratched just past the surface of punk nightlife.
Atop twin sets and dresses traced with zips galore, checkerboard denim and lashings of leather, bob-wigged models sported Alain Mikli's iconic lopsided sunglasses, recreating the kind of glamorous 1980s visuals that Scott replicated in 2D as airbrushed graphic separates. His finale however, pointed more towards his Paris days — all flat-packed sequin constructions of disc dresses and pyramid skirts — for a Pierre Cardin meets Polly Magoo spectacular. The kind he does best.
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.