BALLY has presented its new vision under the helm of its new Creative Director Simone Bellotti – the ex-Gucci Men’s Ready-to-Wear designer, and ex-senior staffer at Dolce & Gabbana and at Bottega Veneta. He took over from Rhuigi Villaseñor earlier this year, after the RHUDE founder had produced just two collections for the Swiss luxury label that eventually saw him and BALLY part ways on a “joint and mutual decision.” And frankly, that decision was the right one, as Simone Bellotti has injected a much-need oomph, wow-factor, and delicious combination of contemporary design and heritage luxury into his Spring/Summer 2024 debut.
There were elements for all occasions at BALLY SS24. School uniforms were reinterpreted with asymmetrical edges, skewing the waist of a skirt and elongating the hemline for proportions that gave height to the body. Tailoring wasn’t Balenciaga-oversized, nor was it Jil Sander minimal, but instead, just perfect, just right. The Goldilocks of suiting, if you will, with silhouettes staying slender, slick, and sophisticated.
On the contrary, blue collar aesthetics were explored with spread collar shirts paired with playfully-branded hats and navy blue slacks, accented with a briefcase bag hooked in hand (but more on the bags later). Because as the show went on, the fun unravelled – buttercup yellow leather was used on a blazer, scoop neck sweaters in fine grey wool were scooped to new curvaceous dimensions, and a ribbed red sweater was complete with its shoulder pads, 1980s style.
Usually, when so many themes are at play in one collection, we’d critique. But when it comes to having a new Creative Director, it’s beneficial to see how they can deliver a BALLY for everybody. It’s why we were given strawberry-covered swimsuits moments before a cream trench coat was worn over denim, or shown a slightly NSFW black chevron knit dress that’s not only semi-transparent, but also worn short with high-riding black leather boots.
There are multiple strengths within this collection, something which was only elevated by the show’s gorgeous Palazzo backdrop. With floral gardens sprawling and historic Milanese walls backing the show, items like a see-through sweater, an architectural red leather dress, a scrunched and ruched blue dress, and then suddenly cowboy attire in the form of a Canadian Tuxedo, all worked well to define what BALLY can be, and now is.
It’s up there with the greats, and this collection solidifies that notion. Point proven by the bags – every single one of them, from strawberry briefcases to supple brown leather holdalls and smaller bags with cow bells on them, went to show BALLY’s versatility.
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See: Prada SS24.
See: Ferragamo SS24.
AVAVAV by Beate Karlsson is one of a handful of brands that you don’t want to skip on your Milan Fashion Week calendar. For Fall/Winter 2023, it presented clothes that were falling apart, a sign for what was to come – when the show ended, the set collapsed. Spring/Summer 2023, which also marked Karlsson’s runway debut, saw models falling over on purpose (and at the time this was very apt, per many models falling over or not being able to walk in those cursed Valentino heels). For Spring/Summer 2024, the AVAVAV antics struck again.
Backstage, Karlsson said the collection was about “stress.” Culted was behind the scenes of the madness moments before the collection debuted, and it was as chaotic and haphazard as you’d hope from Karlsson’s cult label. We got up-close-and-personal with the models’ teary make-up, dishevelled wet-look hair, and smudged mascara, with all this pointing to a very stressed out group of models. Why were they stressed? Well, it’s Milan Fashion Week, you’re running out of time, shows are late, the weather is dreadful, and AVAVAV is about to start.
But the models, well, they were over it. Some came a few steps onto the runway before giving up and turning back. Others marched towards the photo pit, as if they just wanted to get it over with. Some were half-dressed, or not dressed at all. AVAVAV’s staff pushed another few models onto the runway – “come on, you’re going to be late!”
But it wasn’t all gimmick and no fashion. Sure, there were hoodies with writing on them insinuating the garment was incomplete, but there were also dresses purposely tacked together with pins – it being a commentary on both running late, and making a fashionable statement piece.
Likewise, post-it notes were used on a full suit ensemble, worn by Dorian Electra no less, and also appeared as earrings, like the masking tape you put over fresh piercings when swimming. More wearable moments ranged from leather blazers to a stunning dress cut asymmetrically with buttons done up incorrectly.
But throughout the collection was ample amounts of tongue-in-cheek attitude. One hoodie read (in crystal embellishment) “MADE IN ITALY,” and beneath (in tippex), “(OR CHINA, CAN’T REMEMBER).”
Likewise, T-shirts plastered with the phrase “Filthy Rich” were met with baseball caps that said “C*nt” on them, also in crystals. And how did it all end? With Beate Karlsson coming out in her own clothes, sporting face-tat tears that read “Filthy Rich” once more.
See: Ferragamo SS24.
Photo Credit: Eric Brain / Culted
Bottega Veneta Summer 24 by Matthieu Blazy brought all the stars out to Milan Fashion Week – Erykah Badu, Peggy Gou, Hans Ulrich Obrist, Pink Pantheress, and Julianne Moore, to name just a few – but it wasn’t just celebrities that made an appearance, no: Bottega Veneta Summer 24 is a collection packed with standout starlets of its own.
It started before the models even appeared, as guests poured into a room decorated with a tiled floor reminiscent of a swimming pool (aptly playing with sardines, for example, à la Bottega Veneta’s Sardine Bag), but is in fact a re-designed world map. Elsewhere, subway sounds, aeroplane noises, fireworks, and the hustle and bustle of city life was composed amongst a dream house mix, building the suspense for the collection’s unveiling.
And once it was unveiled, it was yet again Blazy doing what Blazy does best. Here are the key looks, pieces, and must-see items from the Bottega Veneta Summer 24 runway show.
Bottega Veneta’s Really Big Bags
Leather goods is what Bottega Veneta does. It’s the House’s speciality, and arguably what made it rise to the top of its game thanks to a number of its bags becoming staples of the season year after year. Matthieu Blazy has doubled down on this for Summer 24, not just delivering bags, but ones of gargantuan proportions.
The Bottega Veneta Sardine Bag is transformed into a larger everyday accessory, crafted in oxblood Intrecciato weave leather with a new wooden sardine-shaped handle. A crocodile-embossed brown leather bucket bag is worn over the shoulder thanks to two rope-woven leather straps, and is capacious enough to fit all your clothes – evidenced by the signature shirt falling from its cavity, and the model’s minimal black unipiece ensemble.
Foulard basket-woven Intreccio leather was spun in one continuous manner to create a variety of large shopping bags, as seen in the opening look.
That bag was also a clever play on Blazy’s behalf. For Fall 22, he opened the show with the leather trompe-l’œil jeans and tank top. For Spring 23, it was the leather shirt. Now, these components are thrown into the bag, showing how Bottega Veneta’s woman is transitional from season to season, or even minute by minute.
Thus, Bottega Veneta’s bags are so big for Summer 24, they’re really all you’ll ever need. Few “small” bags appeared – even briefcases in baby blue, or clutches that were reminiscent of picking up the daily newspaper, were super-sized.
That Red Leather Dress
Knowing leather goods like it does, Bottega Veneta also knows how to champion leather to the nth degree. Summer 24 presented a red leather dress – think Jessica Rabbit, only, make it Bottega Veneta.
The result is a masterclass in sensuality and sophistication at one. Asymmetric enhanced bust panelling crafted a sweetheart neckline, allowing the dress to follow the curves of oneself and fall down to the hips, cinching in for that timelessly chic silhouette.
Moving down, tubular red components line the dress with what emulates a pleat, while more of the same detailing dresses the sides of the garment, further cutting the silhouette into shape.
This isn’t just a dress, this is the dress of the moment – and you’ll be the moment, wearing this.
A Men’s Black Leather Wrap Skirt
We should get used to men wearing skirts, because as proven by Bottega Veneta, they look amazing in them.
For Summer 24, Bottega Veneta presented a shiny black leather skirt worn over matching black leather trousers. The skirt itself increasingly pushes Blazy’s creative direction the right way forward, challenging societal boundaries, gender norms, and what the House can do with leather.
As expected, it can do anything. This black leather skirt features a knot on the front, as well as fringes dangling from leather threads at the bottom. It’s the occasion.
On the Topic of Fringes…
Fringes were everywhere this season. The aforementioned skirt was just the start, as Bottega Veneta delivered a chevron woven dress with a fringed hem; a range of leather dresses (complete with high cowl necklines) that were covered in strips of leather fringing; a small red bag covered in feather-like fringes; a check two-piece that was tucked into one another, giving the illusion of the fringed waves meeting across the front of the piece; and another for men, this time using the fringes to create a dramatic spread collar.
On the coat, it felt more like a scarf, while on dresses (notably a baby blue number), the fringes were used to create movement and shape. Likewise, the use of scalloped fish scale wool (seen in previous work) was used to create three-dimensional detailing that evolved into a dramatic waterfall of frayed fringes, before continuing down to a jellyfish-like, orbicular web of fringes and threads.
If you want drama and movement, Bottega Veneta has the tactic for you.
The Fireman-Red Leather
Is it really a Bottega Veneta show without ample amounts of leather? For this look, the House used some of the thickest leather we’ve ever laid our eyes upon. Served up in a bright, fiery red colour, this overall features a storm collar that folds up to protect you from the elements, as well as epaulettes, sharply-angled straps, wide slash pockets, a low-waisted belt with a tonal belt buckle, and a wide-fitting front-pleated pant portion.
The way this look bounced against the swimming pool-esque map setting of the runway stage was unmatched – as was the opportunity that was taken to showcase this look with a bouclé coat held over the model’s body, of course in a fireman’s lift pose.
Striped Leather Dresses
If orange leather wasn’t bold enough for you, do not fear. Bottega Veneta had another trick up its sleeve.
What looked like bolts of leather, found in baby blue, grey, white, red, navy blue, and brown, were woven together strand by strand. These thick bars of leather wrapped around the body – it consumed the upper portion of the model, giving them a shawl to wrap up in. Beneath, towards the legs, we find the leather become loose, detached, and free, therefore moving with every stride on the runway.
To top it off, Bottega Veneta paired this look with a bag made of the exact same qualities. If you’re looking for a case study on craftsmanship, this is it.
Pom Poms Galore
Moving away from leather and fringes, Bottega Veneta exercised another one of its well-trained skills: fabric and silhouette manipulation.
For a duo of show-ending dresses, the House presented two dresses that were made from a knitted web of latticed fabric. The impact of this alone was already enough, but it was only enhanced the sporadic placement of pompoms birthing from the lattice like fireworks explosions in the sky.
The two dresses – one in off white, another in grey – are destined for the red carpet. Showstopping proportions and more movement gave the dresses bounce and presence, even in a room as big as the Bottega Veneta show space. Don’t you just want to touch it?
A Black Leather Coat Fit for The Matrix
Waxy black leather is another component that’s frequently used at Bottega Veneta. For Summer 24, the House presented one of the most desirable coats to ever grace its runways: a double breasted coat cut in heavy weight leather.
If you thought the buttons were big, then just look at those lapels. Nothing is more of a power move than a lapel and collar combo that spreads as wide as one’s shoulders. This is luxury embodied in a piece of outerwear, for if you wear this, everybody knows that you’re the final boss of the big coat game.
Finally, the Finale Dress
Bottega Veneta Summer 24 was an honour and a joy. So much greatness came from Matthieu Blazy and his design team, and how did they conclude? With a Little Black Dress, of course.
Forever a classic, the LBD in question was not your quintessential statement. Of course it was given the Bottega Veneta treatment, fitting from the very highest point of the model’s neck all the way down to the floor.
There was a cut at the rear revealing her back, and knotted white threads all over it. If there’s one key takeaway from this show, it’s that Bottega Veneta is the tastemaker. Fringes, leather, pompoms – it’s all about volume this Summer 2024.
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Jil Sander has always maintained an air of cool since it first emerged as a pioneer of the minimalist aesthetic. The brand’s namesake founder has left and returned to the brand three times since its 1968 inception, with Raf Simons being released from his position as creative director in 2012. In 2017, Luke and Lucie Meir steadied the ship with their combined experience, which continued into the SS24 collection.
Models wore skull caps paired with dresses which blended a body-hugging ribbed upper into a flowing dress from the waist, mirroring the tempo of its wearer as they weaved through the white-walled industrial space. The skull cap was seen throughout, worn with a boxy white blazer featuring two-toned layering, a high-necked top and shorts in the same hue, in a look that channelled the energy of a 1920s flapper.
Next, we saw high-waisted trousers met with a black vest accented with the ruffles of a tutu around the neck. The components were combined with a long leather belt holding the look together, complete with silver hardware. Tradition went out of the window, as models wore gold jewellery in contrast to the silver detailing seen in the rest of the outfit.
Dresses arrived in light, airy materials and a varied colour palette. A semi-sheer one-piece featured a deep V neckline, with contrast seen in muted yellow heels. Later, we saw an iridescent, faded yellow dress which fell below the knee, finished with baggy suede boots. Adwoa Aboah took to the runway wearing a white dress with ruched details, layered with a poncho across the shoulders and contrasted with black leather boots. Throughout the collection, circular cut-outs were featured across dresses, revealing skin and shirting underneath, in keeping with the brand’s blend of classic womenswear styling with an avant-garde eye for detail.
Later looks subverted the muted colour palette, seen in a boxy yellow top and bermuda shorts combination, complete with cowboy-style silver collar clips, and accompanied by a leather shoulder bag carried under the arm.
In a step away from the traditionally minimalist looks Jil Sander has become known for, we saw a full snakeskin overcoat with pointed leather boots protruding from the confines of the exotic outerwear. Channelling the energy of the Jil Sander woman on the go, a matching bag was clasped tightly by the side of models, with sleeves rolled up and hands in pockets. Further snakeskin features included a pencil skirt worn with a loosely fastened, billowing white shirt and a pair of Mary Jane-style shoes.
A darker snakeskin could be seen peeking from beneath a black long-length jacket, with a leather basket bag providing a put-together polish to the outfit, aided by a wide, heavy-duty adjustable strap with gold detailing.
A neon pink vest was worn loose and met with a black tailored skirt, in a playful and powerful combination that appeared to draw on Luke Meir’s streetwear background. Having previously designed for Supreme, he is well-versed in elevating everyday prints and designs for the runway.
Luke and Lucie Meier maintained the modern, elegant and minimalist edge of the Jil Sander brand, which has been upheld since the departure of its founder, whilst punctuating the collection with a new personality, seen through playful pops of colour, mixed metal accessories, and exaggerated proportions.
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Culted Sounds: Our Favourite Fashion Week Soundtracks
We’re well into fashion month, and the clothes have been clothing. From Diesel’s thumping techno soundtrack to Fendi’s sombre accompaniment, we’ve been dissecting our favourite fashion sounds. Whether you’re a high-bpm, have it large fashionista who, or a calm, collected clobber critic, take a look at the Culted team’s runway anthems below.
Diesel FW23: Untitled
Glenn Martens heard ‘sex sells’ and ran with it for his creative direction at Diesel. Everything from the clothes to the set design and even the music is powered with lustrous energy – a giant mountain of Diesel x Durex condoms, come on. For FW23, the soundtrack starts as your classic uptempo runway beat until transitioning into meaning and sporadic, allusive clapping sounds. Honestly, iconic.
TBC: Anna Wintour by Azelia Banks
Whilst no high fashion runway collection has been shown to the soundtrack of Azelia Banks’ ‘Anna Wintour’, I would pay good money to see it especially if Anna herself was seated in the FROW. Just to think that Anna Wintour might have listened to this track before is hilarious, so having her watch a collection strutted to it (her very own soundtrack) is my dream. Maybe Gucci could redeem itself with this track next season…
Mowalola “Crash” SS24: Monster (Nicki’s Verse)- Kanye West ft. Nicki Minaj, Bon Iver, Jay – Z, Rick Ross
How can you not put this in the playlist?
Burberry SS24: Dean Blunt – Unreleased Track
Burberry accompanied their SS24 show with an unreleased track from London artist, Dean Blunt which sampled Victoria Beckhams ’Out of Your Mind’. I loved the contrast of the track in comparison to the collection, as it’s not typically the genre that comes to mind when I think of Burberry, but it felt like a nod to the culture and scene in London.
Somebody get Maximilian Davis some sort of accolade for his work at Ferragamo, because his efforts there for the past three seasons are akin to that of a divine intervention. Perhaps the British Fashion Awards taking place later this year will be his golden ticket to the hall of fame of decorated designers, though his creations already surpass the need for an official seal of approval.
For SS24, Davis proposed a refreshed wardrobe that was at the same time elegant and classy without feeling like it only caters to an older audience, with fresh and youthful takes on the brand. Afterall, Davis did say “I want to prove that Ferragamo is not just the brand your parents wear,” and at his hands, it certainly isn’t.
Wardrobe staples for a youthful audience came in the form of a halterneck, deep plunging sleeveless cardigan paired with high waisted underwear and a black leather tote-style bag that screamed “This summer, we’re swimming in the Hamptons.” We also saw a strapless mini dress with white beaded accents on its outer layers and a series of layered tank tops placed on colourblocked tunics, one of which was in Ferragamo’s signature trademarked red.
Davis is a master of colours, in a minimal sense. He knows how to focus on one colour, and execute that colour flawlessly. Last season it was a shade of red that sat on the bench this season for the arrival of a deep and rich green that is worth drooling over. We saw it on a structured, tailored coat with slit sleeves that were simply placed on the arms rather them wrapped around, the same coat that opened the show, though in a black iteration.
This rich green was seen on several other looks, including a high-neck overcoat with unpredictable draped detailing and latex-like knee-high stilettos, on men’s shirts and trousers, as well as accessories including a three-zip boxy bag.
While not as apparent, baby blue was also a colour forefronted by Davis this season, seen juxtaposed with a greyish dress in the shape of a house Hug Pouch bag or splashed like paint on a flowy white dress. The way Davis uses shapes and colours isn’t just instinctively, but thoughtfully – just take a look at the long sleeved pink dress that featured a red addition of colour in the shape of an hourglass figure. The figure, though, wasn’t centred to accentuate the model’s own body, rather, placed slightly to the side to represent a shift, both in traditional fashion and beauty norms and in the brand itself.
When Davis joined Ferragamo in 2022, he was the last part of a seismic shift (also known as a rebrand) that hit the Italian powerhouse. There was a new CEO, a new name – Salvatore of Salvatore Ferragamo was evidently dropped – and then, a new creative director. Definitely a risk to bet on, all this newness paid off for Ferragamo and Davis alike, with the young designer leading the way into a new era of luxury.
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Donatella Versace knows how to put on a show – or rather, a movie. Last season at FW23, the House looked to the stars, citing “the energy, glamour and power of Hollywood,” as its main source of inspiration, and SS24 followed suit. Through Versace’s collection, we were transported to the vintage set of a 1960s movie, complete with candy-coloured collared suits and tunic-style mini dresses.
Draped, white curtains surrounded the show space that Versace’s audience entered this evening, where they found their seats spanning the width of a glossy, chequered floor. The atmosphere of the space was hushed, dim, and echoed with a low fanfare of gentle music; however, this was shortly cut and replaced with the sounds of conversation growing louder – and not from the crowd. As the show finally began, projections of black and white films were cast upon the curtains, and the lights came up to reveal an art deco-style doorway at the end of the space.
The first model entered the space in a white tunic-style mini dress with diamonds studding its neckline, evocative of the 1960s in both its silhouette and accessories, a pair of buckled, silver flats. This was followed by a camel-coloured, button-up jacket and shorts in a soft, silky material, which were paired with similar silver footwear and a textured, beige tote bag clutched in the model’s hand.
The spirit of the ‘60s continued to breathe life into the collection, seen in the form of cropped-hem jackets with rounded, vintage-style collars and ultra-short shorts that peeped just below them. An oxblood leather suit broke up the pastel hues of the first few looks, but without violating the aesthetic of the collection; in fact, the same colour in knee-high open toed boots was perfectly matched with the creamy white and beige shades that dominated the show.
Then, in true Mean Girls fashion (or I guess Grease, considering the era), three models in a triangular formation made their way down the runway in pastel blue, green, and pink chequered skirt-suits. But before the collection could become too overwhelmed by its influence from the ‘60s, a diamante double-denim set was shown, indicating our entry back into the 21st century.
Following this look, menswear took on a baggier, more utilitarian style, with pant legs widening and jackets developing more collars and a looser fit. Womenswear continued on with the 1960s inspiration; however, with a more modern touch. Diamond, crochet vests were paired with jeans, and boned, floral corsets were designed out of mesh. A trio of models each in a different pastel-hued silk shirts and skirts set appeared, decorated with the Verace La Greca print.
Finally, a silky, black dress which almost could’ve been in the style of a bumster (only it wasn’t quite low enough) was shown, before Claudia Schiffer in a pooling, silk green dress with sparkling diamond detailing closed the collection.
The reason we love Versace is for its playfulness and its nostalgia, and SS24 had plenty of both. Taking the silhouettes and colour palette of the 1960s and putting a modern twist on the aesthetic has culminated in a collection that’s nostalgiac without being dated, as much as it’s modern without being fleeting. Versace’s SS24 show was everything luxury fashion should be: grounded in the past whilst celebrating the new. Donatella VERSACE 💜.
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On Wednesday this week, Diesel hosted its SS24 show in Milan and welcomed fashion people and celebrities alike from all around the world to flock to its audience. A crowd of the wealthiest 1% queued onto the red carpet upon arrival, dressed from head to toe in designer pieces and showing off their most immaculate fits… except for one person. Obviously, it was Tommy Cash.
Tommy Cash is an Estonian rapper/singer who’s become well known in the fashion sphere for his Fashion Month fits that tend to be strange, funny, and just generally conversation-worthy. He’s attended shows in muscle suits, MSCHF boots, and mime costumes in the past, but generally his outfits veer more on the side of weird than offensive. Given his 1 million followers on Instagram, it’s safe to say that Cash has a substantial fanbase; however, his recent stunt has left them divided.
We posted a clip over on TikTok that we took of Cash arriving at the Diesel show, and (unsurprisingly) the comment section was outraged to say the least. Dressed in an outfit that can only be described as a cruel caricature of the homeless, and pushing along an actual trolley, Tommy Cash seriously outdid himself with this one, and the 300+ comments under our post (mostly) agreed. Here’s what our community on TikTok had to say about the spectacle.
User @thegeribatric commented under our TikTok saying, “His other stunts have been fun…this is not ok.” and similarly @oniiiiiiiiiiiiii wrote, “big fan of his but this was a miss”, so it seems that many (ex) fans of Tommy Cash weren’t very entertained by the look. However, others weren’t deterred, including one user who said, “you are the greatest Tommy” (maybe they just didn’t watch the video?).
There were a few commenters who were reluctant to accept that Tommy would take it this far, instead reasoning, “I wanna know his commentary cause it feels political,” as @yafavechaos said. @vangbeans also commented “This is a statement against the fashion industry,” and her argument is interesting. But the fact that Tommy Cash hasn’t put out a single statement explaining a deeper meaning to the outfit, or even posted the controversial fit on either his IG or TikTok, kind of shows that he’s not using the stunt to raise awareness.
In fact, Cash’s complete lack of acknowledgement on social media that the drama ever happened might actually imply that he’s regretting the outfit, and given the overwhelming backlash we can see why. As @sumaiya commented, we’ve all been left asking, “what’s the actual point of this” and with no explanation from Cash none of us seem to be sure. Unanimously, though, it’s not giving good vibes.
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LOEWE has used 3D printing to mould and produce seamless leather pieces that echo Polly Pocket’s interchangeable wardrobe — gummy texture, pastel colours and all.
The items, which include a jacket, top, shirt and mini skirt, were first debuted on the women’s runway. They are created using a 3D printed mould and are accompanied by other items in wool, cotton, cashmere and silk in pastel pink, mint green and powder blue to create a life-size Polly Pocket wardrobe.
The Fall/Winter 2023 campaign was shot by legendary fashion photographer David Sims, showcasing the strappy dress in Viscose, accessorised with the Spanish fashion House’s new Squeeze bag, which offers textured contrast to the Polly Pocket collection with ruched detailing and a gold doughnut chain.
The seamless garments, designed by Jonathan Anderson, worked as part of a collection with simplicity at its core and serve as a testament to the wide-ranging influences which inspire him. Anderson is known to look beyond fashion for inspiration, being well-versed in the world of art, and for FW23, he can add the “it” toys of the ‘90s to his list of influences.
Since taking the helm at LOEWE in 2013, Anderson has turned the LVMH-owned label into a $1 billion brand, reflected in June’s Lyst Index, where LOEWE was ranked the hottest brand in the world.
The LOEWE Polly Pocket collection is available to shop now on the LOEWE webstore, with prices ranging from £725-£2950.
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For SS24, BOSS invited us into the world of Techtopia. In this futuristic office concept, stress is a thing of the past, thanks to the incorporation of game-changing technologies, such as robotics and in-office green space, serving as a vision of the office of tomorrow.
As part of BOSS’ view of the future, attendees were greeted by Sophia, the humanoid robot created by Hanson Robotics, who monitored the entrance to the show and was also seen sitting at a desk on the front row. Sophia wasn’t the only high-profile guest in attendance, as Burna Boy, Demi Lavato, Lee Min Ho and Naomi Campbell were all at the show.
BOSS’ FW23 show marked a return to the suiting that it was known for in the twentieth century. The brand launched in 1970 when men’s fashion awareness was on the rise, creating two-button single-breasted blazers and narrow-shouldered suits.
Gigi Hadid kicked things off wearing a boxy grey blazer and pencil skirt worn with a brown deep-necked blouse, as we saw a first glimpse of BOSS’ take on corporate dressing. The heavy-hitting casting also saw Anthony Joshua take to the catwalk, donning a deep brown overcoat which fell below the knee and was accented with a fur collar, partially concealing off-white shirting and a mid-length black jacket underneath.
Tailoring was cut loose and seen in grey, brown and beige colours throughout the show, with knitwear to match. Plunging necklines revealed textured leather ties, while others were adorned with pens, serving an office-ready utility with each look. The same textured leather was used to craft pencil skirts worn with below-the-knee overcoats. Models carried notebooks and briefcases in hard and soft leather, in grey, black and brown. Umbrellas rested between straps in weather-proof looks, ideal for the corporate commute.
The set contained six themed rooms, one with a meeting being carried out and another “brainstorm” room, which saw fictional employees lying back wearing light-therapy headphones. Another showed a meditating office worker manifesting the closure of a killer corporate deal dressed in a textured grey suit and turtleneck.
For SS24, BOSS nodded to tradition against the backdrop of a changing world, where the office becomes a space of tranquillity. Traditional white-collar attire contrasted with a futuristic setting.
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