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 — It's a tough time in America, and LA-based Jeremy Scott is no wallflower — the designer uniformed his AW17 fashion show staff in t-shirts that read loud and proud 'OUR VOICE IS THE ONLY THING THAT WILL PROTECT US' on the front and came lined with the phone numbers of senators in all fifty states on the back.
They made their point loud and clear. But they were the only angry statement of the season, one that ran a gamut of louche 1960s and 1970s inspired silhouettes, largely based on a skinny leg pant that flared in crushed velvet, strings of sequins and a cutesy 'boudoir'-inspired ruched trim. From a Jesus Christ (superstar?) printed velvet perfecto to Anna Cleveland's golden winged cape, the collection held a baroque flavour that suits Scott well – it melded with his tartier, psychedelic creations better than expected to deliver an ode to Las Vegas, and all who sail within her.
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.