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 — Rosie Assoulin is perhaps best known for making flamboyant, stylish party clothes, but she is often led back to the essence of what it means to be at home — and with family. As a mother of three, her references this season were rooted in the things many of us remember from childhood: collecting seashells, whipping out those thick white "Vanity Fair" paper napkins, embossed with little flourishes, for picnics. She decorated the collar of a to-the-floor pink silk shirt dress with real shells and embroidered a white cotton sundress with a shell motif.
Many of her colourful cornucopia of gowns, voluminous with gathered sleeves and pin-tucks, belonged in a stately sitting room — if people still had those. White cut-outs reminiscent of those Vanity Fair napkin scrolls where applied up the sides of turmeric-coloured design, while a rainbow-cameo print adorned an orange-sherbet coloured pleated a-line number. Then there was a more closely cut column made of lace inspired by doilies. "Not your mother's doily dress," Assoulin asserted. Perhaps not, but in this case, the air of domesticity was a good thing.
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.