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.
LONDON, United Kingdom — Peter Pilotto and Christopher De Vos staged their show in their studio in North London, right by Regents Canal, on a lovely, lazy Sunday afternoon. The rather non-fashion-y surroundings and the intimacy of their workplace brought a light and familiar mood to the proceedings.
The collection was all uplifting and energetic: working around a tropical baroque theme, the designers managed to merge freedom of spirit, a fresh take on sensuality and their trademark, formal exploration of the structure of a dress. While sometimes, the duo's proclivity for a hypervisual approach — think prints, patterns and patches aplenty — feels a little bit too studied, this season the goings were more spontaneous and weightless; the simplicity of the flounced and cinched forms got a boost from bright hues, metallic shots and a genial air of summery carelessness.
The layering of dresses over jacquard tops might not make it into real life, and the patch-covered denim pieces might have felt too referential of the Eighties, but overall the effort proved mature and convincing.
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.