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 — The Balmain men, all unbridled decoration, flash 'n cash and burgeoning physical presence, is utterly unapologetic. His no-holds-barred approach to maximalism becomes if possible more and more maximalist as times passes. Like it or not, creative director Olivier Rousteing has a vision, and goes for it all the way down, without feeling any need to edit himself down — in fact, today's show was literally infinite.
Deliberately tacky, and borderline vulgar, it was also very enjoyable: a visually ebullient parade of peococks in various states of theatrical dress up. It started with slouchy knitwear and ended up with densely embroidered tunics. Overdressed to the brim, the Balmain posse looked once again like a tribe of retired rockstars from another era — the 1980s — because Rousteing has a thing for the period — the style, the music, the excess. Is there room for such a take on glamour today? Probably. Anyway, according to Freddie Mercury on the soundtrack, the show must go on.
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.