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 — Rosie Assoulin is perhaps best known for making flamboyant, stylish party clothes, but she is often led back to the essence of what it means to be at home — and with family. As a mother of three, her references this season were rooted in the things many of us remember from childhood: collecting seashells, whipping out those thick white "Vanity Fair" paper napkins, embossed with little flourishes, for picnics. She decorated the collar of a to-the-floor pink silk shirt dress with real shells and embroidered a white cotton sundress with a shell motif.
Many of her colourful cornucopia of gowns, voluminous with gathered sleeves and pin-tucks, belonged in a stately sitting room — if people still had those. White cut-outs reminiscent of those Vanity Fair napkin scrolls where applied up the sides of turmeric-coloured design, while a rainbow-cameo print adorned an orange-sherbet coloured pleated a-line number. Then there was a more closely cut column made of lace inspired by doilies. "Not your mother's doily dress," Assoulin asserted. Perhaps not, but in this case, the air of domesticity was a good thing.
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.