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 — Giorgio Armani Pre-Fall 2016 was not about anything in particular — and maybe that was the point. For lesser designers, a collection's theme or inspiration can serve as a crutch. Even if the clothes are bad, then at least there's a good story on which to fall back. Mr. Armani's work, on the other hand, presumably doesn't require such heavy-handed context.
And yet, the collection's open-endedness was really the only thing stringing it all together. The first word in the notes was "freedom," and there certainly was a looseness in the line-up, which hopscotched from a tiered ruffle frock that floated away from the body to a satin kimono jacket printed with a painterly floral. Well-crafted little blazers and jackets — in navy-and-white chevron, floral patchwork tweed or leather-lined shearling — had nothing much to do with the taupe velour gown embroidered with colourful eyelets.
For the most part, it was a fine strategy. Every piece was well-constructed and many stood confidently on their own. However, that approach can sometimes read as ambivalence. It would have been nice to see more looks like the multi-coloured tweed coat with a feathery fringe, paired with cropped velvet trousers. It was a forward-feeling ensemble that didn’t pander to trends and had a point of view.
Tim Blanks and Imran Amed discuss the highlights of the Autumn/Winter 2023 collections, including Daniel Lee’s debut at Burberry, a transitional show at Gucci and Balenciaga’s first brand statement in the wake of the advertising scandal.
Hollywood has always been close to the designer’s heart, so it was pure kismet that Donatella showed her latest collection in Los Angeles three days before the Oscars.
In an age of clickbait fashion, it was acts of reduction that, paradoxically, stood out most, reports Angelo Flaccavento.