Inspired by the vibes of 1970s Soho, Elie Tahari’s collection at NYFW September 2019 emits an electric energy that melds the industrial and creative worlds into one. As an ode to The City That Never Sleeps, textures and patterns evoke a vibe that contrasts urban with artistic, lighting the stage with a vibrancy that can only be described as “New York.”


CHANEL Fall 2019 Ready-To-Wear


In a show that was somber yet serene, a capturing of airiness and substance, of shrugged-on elegance and insuppressible delight, the farewell to the immense talent of Karl Lagerfeld was framed just as he’d imagined. He took us to a place high in the mountains on a beautiful day. It was a snow-bound haven—a slice of Chanel heaven, viewed from a distance that was poignantly difficult to bear.

There was an icicle-like tinkling on the soundtrack. Models assembled, one by one, on the snow-covered steps of a faux alpine hostelry, the Chanel Gardenia. It was hard, the suppressed anticipation of what was going to happen next. What is the correct form for honoring someone at a fashion show, someone who was always so fixed on waving away vulgar sentimentality, and who always had something hilariously skewering to say about the posthumous hagiographies of anyone he cared to mention? Karl Lagerfeld was the least sentimental of people. He loved his job and always regarded it as the task of continually living in the present. He reveled in letting it be known he had a “contract for life” with Chanel, which he enjoyed to the maximum moment.

Well, this is how it went. There was a minute’s silence. And then, Karl Lagerfeld’s voiceover, from a recent Chanel podcast (this man loved every tech advancement). He spoke in French, until the last sentence, where he burst through in English about his pleasure in imagining the detonation of a surprise on an audience in, “Oh! It’s like walking in a painting!”

The Chanel girls—his crew, the latest generation he’d encouraged and quipped with in the Chanel studio since 1983—were clearly conscious of the ceremonial responsibilities they had. They trod the “snow,” hands in pockets, insouciantly proving what a perfectly considered collection of wide-legged trouser suits these were—with long, swirlingly soft, checked tweed coats he’d envisaged in tandem with his longtime right-hand Virginie Viard.

That section was amazingly poised. Tailoring is a subject du jour, but through the filter of Chanel consciousness, we saw tradition, femininity, and an energetic projection of the shape of today. Let’s put it down here: The opening, some of the wide, pleated trousers, was incredibly on point—a flipping of the Chanel tradition of opening with tweed skirtsuits—with playful snowballs of tulle and crystallized snowflakes thrown into the back of the girls’ hair.

What Karl Lagerfeld never forgot—he was a rare intellectual pragmatist who frequently ridiculed high-concept fashion—is that clothes are nothing unless they are worn. That was Coco Chanel all over, too. It should be remembered that, by the late 1970s, few cared about her legacy. Her canon had been put in the shade by Yves Saint Laurent until Karl Lagerfeld was hired into the house by the Wertheimer family in 1983. It was Lagerfeld who irreverently illuminated the codes of Chanel—irradiating them in the constantly changing sidelights of the events of four decades’ worth of current affairs, the serial revolutions of fax, the Internet, social, and the global reach of fashion to new generations in Asia, and beyond.

He was always up for a topical gimmick and a punning accessory, but he also knew about emotional intelligence—that, and his connection with nature and nuances connecting the dots of his past, came through in his last few collections. The last big break he’d given his audience—the sight of barefoot girls running on a Caribbean beach—was superseded by this immersion in alpine sunlight.

So this collection was Lagerfeld at his uplifting best. No matter how dark the days were, his ability to throw on the icing of a ruffly white organza blouse, to sparkle up embroideries with a deft hand on a Nordic sweater, or to conjure dream dresses within any theme to which his huge imagination traveled. These were the gifts he gave to fashion. Today, as always.

As the models dashed away tears, and the audience stood in gratitude to applaud, the unforgettable memory of Karl Lagerfeld’s elegant, frivolous mind was lifted onto the Olympus of the fashion greats.

CHANEL Fall 2019 Ready-To-Wear

Source: VogueRunway


Palomo Spain Fall 2019 Menswear

Palomo Spain Fall 2019 Menswear

Palomo Spain has returned to New York City, with designer Alejandro Gómez Palomo revealing his Fall collection on Manhattan’s West Side early this afternoon. There was a reason, besides his love of Gotham (he showed here circa Fall 2017), for the decision: “This season is called ‘1916,’ ” he said. “It’s about the moment that the Ballet Russes went from Russia to Spain, and Sergei Diaghilev and the Spanish avant-garde got together and created these mixed, unconventional pieces. Ballet has a lot to do with traveling around, going around in a caravan. We carry on with this attitude.”

There’s no arguing that Palomo Spain emits nomadic feedback: Palomo’s group, his tribe, is both dedicatedly fierce and fiercely dedicated. They go where he goes, whether that’s Andalucía or the Big Apple. This inherent tight-knitted-ness, plus his narratives—always strong when it comes to research and personality—are what make this brand so unique. And while the rearview abstraction of Diaghilev in the Iberian Peninsula initially felt a little dated, Palomo was able to entwine in it a modern heat.

That came with an expanded accessories roster (including sharp new slip-on shoes and doctor bags) and new textiles, like nylon. “My take on sportswear, taken into my universe,” said the designer. See: a wide-collared, short-sleeved optic white anorak, cinched at the waist, and styled over a netted dress. Another parka was done in velvet and finished with a massive bow. And yet another was made again in nylon, this time salmon-hued, curving from the shoulders to the hem in what had to have been a wink to Spain’s most famous designer, Cristóbal Balenciaga.

Palomo’s variety here was wide but calibrated; a polka-dot motif, which deteriorated into melted bubbles, shone through with a Pop Art aestheticism, while elsewhere structured and tailored trenches nodded to the original designs of the clothing type conceived by Thomas Burberry. On top of that, there were sequined bodysuits, sheer slip dresses worn over underwear made in collaboration with the Spanish lingerie brand Andres Sarda, and a raven-feathered closing dress duo. The show’s soundtrack switched from orchestral strings to a gritty techno for the finale lap; it was a smart idea, as it placed these clothes, at least spatially, in a more contemporary zone.

If Palomo Spain sometimes feels repetitive, or if it still seems, at times, like too much visual reverie and not enough of an exercise in commercial practicality, it’s a forgivable charge. Palomo should be praised for the message he sings; his casts are always diverse, and they always include openly gay male models (being an out model can still hamper one’s chances at certain jobs). And with the weather vane turning in terms of male dressing—no matter how one identifies or what one’s sexuality is—the distinction of what is the norm will eventually be redefined. But in Palomo’s world, this freedom, this openness, this love—it’s all already deeply entrenched and steeped in irresistible appeal.

SOURCE VogueRunway


Viktor & Rolf SPRING 2019 COUTURE

Viktor Horsting and Rolf Snoeren titled this collection Fashion Statements. “To what extent can you say something with clothing, literally,” they said backstage. Their studio had imagined 18 outstanding, outsize dresses constructed entirely in brightly hued tulle: some with puffed sleeves, others with tiered skirts, all very colorful and very voluminous. And, well, each creation spoke for itself.

Who were these ingenues with their Rapunzel hair meant to embody? I am my own muse, said the one in solid green. Is fashion overrated? Less is more, replied the extra-wide one in gradient pink and blue. What is your position on climate change? Give a damn, declared the one in white trimmed in white and fluorescent green. Will you watch the Super Bowl? No, exclaimed the one in striped blue.

Naturally, with their characteristic monotone, the designers said they were not imposing any meaning, inviting us to arrive at our own readings. One impression was that such exaggerated volumes, while familiar territory for Horsting and Snoeren, could be a visual metaphor for the noise of likes in the virtual world, where these language memes live (Snoeren seemed pleased with this idea). What’s more, there was no mistaking these creations for actual slogan T-shirts or variations on the infamous Melania Trump jacket. All the assorted typography and graphic design—the text as well as the eagle head, the skull, the candy hearts, and so forth—resulted from layers of additional tulle. Trite sentiments backed up by technical prowess.

Altogether, the collection showcased Viktor & Rolf in the brand’s finest, sweet-meets-sinister form. As a fashion statement, it was ironic in attitude; historically inspired and Pop in presentation; detail obsessed and sophisticated in execution. The perfect formula, in other words, for the Costume Institute’s forthcoming exhibition on camp. Otherwise, several pieces could prove quite impactful on the red carpet, unwieldy shapes notwithstanding. The obvious choice: No photos, please.

Source: AMY VERNER / VogueRunway


The Kooples Spring 2019 Menswear

Alexandre Elicha said his Spring lineup for the Kooples “mixed grunge with the baroque.” What he meant by that was that there was a slightly more freewheeling, almost Italian verve mixed in with the label’s typical rock ’n’ roll aesthetic. Vogue


Best of Street Style from Pitti Uomo Spring 2019 Menswear Shows in Florence

Double-breasted blazers for those holding on to the classics and a more casual approach to personal style for others reigned supreme at the biannual Pitti Uomo menswear show in Florence, Italy. The fashion world's lenses were there to capture the best of Pitti Uomo street style - these are some of our picks from Vogue Runway.


Julien David Fall 2018 Menswear

Julien David Fall 2018 Menswear

“I wanted to take a step and look at the sociological aspect—how we behave,” he confirmed. “I [thought] to abduct specific characters and just study the human species.” 

Julien David / Vogue

Julien David Fall 2018 Menswear - David featured 20 looks and 20 breeds wearing "normal" clothes. The models were hanging out in a presentation playing cards, drinking whiskey and exercising. Per Vogue, the masks proved to be more expressive than your average model.