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 — Anya Hindmarch has the drollest eye for detail. The invitation for her latest show – she described it as "a symphony to suburbia" - arrived with a cake of Cusson's Imperial Leather soap, without which no aspirational suburban bathroom would have been complete in the 60s and 70s. And she offered the wardrobe to match: quilted housecoats, little outfits for lounging by your kidney-shaped pool, columnar hostess dresses candlewicked like the bedspreads of the period (the glitter slippers were only for hostesses with the absolute mostest). The wallpaper patterns and colour palette (greens, pinks and yellows that were slightly off/) were of a piece with Miuccia Prada's famous Spring 1996 collection which exalted "the good taste of bad taste". Hindmarch plastered a big pussycat across a tote, and turned a quilted satin pouffe into a huge handbag, or a Big Mac takeaway box into a sleek silver minaudiere.
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.