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.
PARIS, France — Black is eternal for Yohji Yamamoto. So is deconstruction. It's been like this for almost forty years and still we can't get enough. Truth be told, a Yohji show is a highly repetitive affair: from the acoustic music to the punky hairdos. Yet, Yamamoto has a wonderful way of turning repetition into poetry and monotony into symphony. His shows always resemble each other, yet they are never the same. The variations on the theme are almost infinite.
Today, for instance, the proceedings took a spiky, volumetric turn, with coats multiplying with several layers and boxy volumes sprouting in unexpected places. It made for a cubist effect that felt fresh. There were bustiers, too, signalling an interest in female forms beneath the shapeless shapes. With its monochromatic firmness, the collection primarily felt like a powerful antidote to all the broad shouldered glitz that's taking over fashion-land, which is exactly the kind of remedy Yohji brought in 1981.
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.