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 — There were light tones of grey and blue, spiced up with dashes of burnt Sienna, at Canali, one of the veritable bastions of Italian dressing. The chromatic lightness was a counterpoint to the house specialty: weightless tailoring. And, indeed, everything looked breezy and airy on the catwalk, from formal suits worn with informal panache to sportswear worn with an air of propriety. It was business as usual for the brand, which is a perfect example of Italian classicism. But the goings got repetitive — even a tad boring. The collection lacked the slight fashionable sparkle of recent seasons. The reason? The lack of a creative director. No matter how traditional the brand, staging a fashion show requires a keen act of image-making. Otherwise it's just clothes and it's better to just show them in the showroom.
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.