Rick Owens’ FW23 Menswear show opened yesterday in Paris, transporting us to the set of a broody 90s sci-fi thriller, complete with the monochromatic costuming. In a collection that challenged silhouettes and blended intriguing fabrics, there was one overarching theme that touched on a slightly more controversial subject.
The show was held in a fog-filled room fitted with a stripped-back metal runway, setting the scene for the collection we were about to witness before it had even started. As models began to take to the construction-style walkway, the theme of the garments became clear. The first look (worn by familiar face at Rick Owens,Tyrone Dylan Susman) was a black cape-style top with flowing train and trousers, accessorised with a pair of leather, platform boots. This was followed by a black vest with geometric leather detailing and a similar pair of boots.
Following the first two looks, a sea of inky black garments in various shapes, textures, and styles made their way down the runway. Each conforming to the futuristic silhouettes synonymous with Rick Owens, we were treated to intimidatingly high shoulders and invasive leather puffer detailings, which added to the broody and sombre theme of the collection.
Whilst each garment was aesthetically stunning, the collection as whole conformed to a broader theme, asking the question of fashion designer’s place in the current climate. Rick Owens himself outlined his inspiration for the collection, explaining that: “THERE IS A BITTERNESS TO CREATING A COLLECTION DURING A WAR — A DESIRE TO CONTRIBUTE OUR SOMBRE BEST IN AN INDUSTRY THAT MUST REMAIN STALWART, BUT WITH A SENSE OF FRUSTRATION THAT NOTHING IS ENOUGH.”
In an era where vibrancy almost seems crass given the climate, Rick Owens stripped his work back to its bare bones, and commented on the true purpose of the collection. The collection itself was a clear representation of Rick’s discomfort towards the spectacle of Fashion Week in the midst of a war, encapsulated by the stripped back set and sombre tone.
With the world’s eyes on Ukraine and the humanitarian crises occurring there, the brief distraction Fashion Month offers is something that’s been weighed up by the fashion community as dismissive and ignorant in the past. Rick Owens has demonstrated through his FW23 Menswear collection that fashion doesn’t need to stop in the midst of these horrors, but it shouldn’t refuse to make a comment. The power designers have to draw attention to a cause should be utilised, and Rick Owens is stepping up.
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Homme Plissé Issey Miyake FW23 was as trippy as it was archival. Hosted inside the sprawling Palais de Tokyo, the legendary Japanese label’s Parisian show marked the third day into Menswear Fashion Week – and it’s safe to say, attendees were probably seeing stars as they left the venue.
The use of light was a major part of Issey Miyake’s collection. Kicking off in almost total darkness, spotlights flashed into the audience (a warning sign to sit tf down) and then dimmed. Within seconds, the space had been consumed by hundreds (if not thousands) of tiny white light beams. They swirled, rolled, churned and coiled; overlapping each other and disappearing out of sight as if on an invisible conveyor belt. If you blinked, you’d miss it – or potentially save yourself a mild fashion-induced seizure.
The trip didn’t end there, either. Before models had even emerged, darkened figures scuttled onto the runway with huge strips of rippling fabric constructed in Miyake’s iconic wrinkle-dodging ‘Pleats Please’ material. As they thrust the fabric into the air in a manner not unlike that of the weird childhood parachute game kids used to play, the hallucinatory light display hit the pleats like kinetic energy. Waterfall-like displays morphed into aquatic looking movements that ebbed and flowed like a psychedelic sea. If you’ve ever wondered what it’s like to be hypnotised by pleats, this was it.
Classic plisse elements were at the core of the show as usual, with the addition of punchy new shades such as moss green and neon aubergine. An asymmetric pleated cape was finished in deep, blood orange, whilst geometric pyramid prints popped up in the form of boxy tees, extra-large overshirts and relaxed pants.
There were oversized, layered outerwear pieces such as a periwinkle rain mac and a draped burgundy utility jacket (with back-vent pleats, of course) and an emphasis on the neckline was exhibited in the form of banded, chunky point collars; chin-skimming turtlenecks; face framing hoods and choker neckline shirts. A few models with round neck plisse tanks layered over clinging bottoms of the same finish donned flat, martial arts appropriate sneakers, and pretty soon we knew why.
As the last model left the floor, dancers filed onto the runway for one final performance. An exhibition of light and movement, Miyake’s eternal ethos of exploring the body and clothes as one rang clear. With Issey Miyake collections, you get what it says on the tin – the clothes are always going to be great, but the rest of the show? It’s just a trip.
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Acne Studios said: reject modernity, dress like a caveman. The brand’s Menswear FW23 collection, which debuted in Paris earlier today, featured rustic fabrics, earthy tones, and an aesthetic reminiscent of the good old days. And by old, we mean old.
NEANDERTHAL CHIC IS BACK
Enough of the Y2K revival; we want something truly vintage, and Acne is delivering. Whilst the collection was as usual of the highest quality, it had a rugged, worn-in aesthetic that transported us to a time long ago. With knitwear dyed in a mottled kaleidoscope of colour and suede trousers thoughtfully discoloured at the knee, the collection played on natural imagery and an earthy aesthetic that simply makes you want to step out and hunt your next meal.
THESE BOOTS ARE MADE FOR WALKING
Western influences have been teasing their way into fashion over the past few months, and Acne Studios is lassoing in a piece. Featuring classic luxury leather cowboy boots tucked under faded denim jeans and black chap-style embellishments adorned with studs, there’s certainly a touch of cowboy influence which marries well with the caveman-chic.
BAGS ARE REALLY THE STAR
The collection features a spectrum of bags, from sporty to luxury. The Musubi bag ultimately steals the show, a silhouette we know and love from Acne, but this time with a bejewelled makeover that’s simply showstopping. Another shoulder bag is decorated with deep-blue ribbons, evoking a tousled, worn look, and juxtaposed by the modernity of a leather, pink-accented bum-bag.
ACNE’S TAKE ON THE NOUVEAU MASCULINE
Jonny Johansson – Creative Director at Acne – discussed his thought process for the collection, stating that, “I felt inspired by the new man, the new way of looking at things.” This is evident in his considered blending of traditional masculine styles, like the caveman-core and western-accents, with what he calls the “ultra-feminine”. We see this in tight-fitting cat-suits and denim bodices, which fit seamlessly into the collection. More and more, designers are saying no to the binary, and Jonny Johansson is one of them.
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Whilst staring at the crisp white, tent-like ceiling of Givenchy’s FW23 Menswear show space, we had time to muse. There was a hint of a beat somewhere – a faint percussion of some sort – pumping away like a tiny little heartbeat at the back of your throat. What would the latest offering from this Matthew M. Williams era Givenchy entail? Would we spot glimpses of futurism like last year, or reimaginings of functionality? If the ceiling was anything to go by, the return of the 1017 ALYX 9SM founder’s love for vast, liminal spaces seemed likely. And then, all of a sudden – there it was. A pulsation of drums began as Seis Drum’s ‘Parklife’ set the tone for the collection procession.
As the first models filed out, slivers of orchestra symphonies reverberated from every corner. All black, suited ensembles made their way down the cavernous runway with the relentless intent of Italian bouncers, leather gloves and form fitting turtlenecks to match. Following the line of monochrome models, spots of colour were introduced in the form of neon, knitted hoods tucked underneath high necked sweaters, square shouldered blazers and functional cargo pieces.
The utility-chic elements were not lost on the audience – the layers upon layers of practical pieces dangling from each model were reminiscent of the unspoken rule of those who refuse to travel light to the airport, whereby you wear as many clothes as humanly possible in order to cheat the baggage allowance. Overpacking, but make it Givenchy. The functionalist hints didn’t end there. Pieces had universal uses, as seen via the various shirts used as skirt-like additions to outfits, alongside genderless ensembles of the likes of a comfy-core, three-piece sweatshirt/skirt/pant look and banded waists, playing into the exposed underwear trend debuted on a range of catwalks over the past year.
As the show went on, we were encapsulated by matrix-style, floor-brushing leathers and distressed utility vests; python-printed pants with huge, ballooning pockets and frayed white knitwear layered close to the torso with draping strings of fabric, almost allusive of an exposed ribcage. Models lugged camo-print holdalls as if being shipped off to army camp, whilst waterproof elements reigned supreme through all weather metallic puffer jackets and durable anorak two-pieces.
Explaining the Givenchy’s multi-generational pull to the Financial Times, Williams once lauded the fact that both his mother and son – despite their age difference – loved the brand. He may be right about the generational range. Nods to classic Givenchy stylistic elements were clear, from luxurious tailoring to mandarin-collar suits in black, charcoal and navy. On the opposite side of the spectrum however, we saw contemporary, youthful twists in the form of a procession of faux fur, leather and shearling pieces; a nuclear, swamp green dappled bomber; an atomic purple furry jacket with a gargantuan, padded hood, followed by a leopard-print offering of the same ilk. A Bakar-produced show soundtrack (that merged seamlessly with the collection’s effortlessly cold curation) and a star-studded audience echoed Williams’ emphasis on the historic brand’s youthful pull – attendees such as Kodak Black, Pusha T and G-Eazy championed the label in all-Givenchy fits, whilst K-Pop phenomenon Taeyang spurred a crowd frenzy outside the showspace. For FW23, Gen Z playfulness met timeless grown-up designs.
As the show came to a close, the clean, retreat-like space was empty once more, inviting us to reflect on the collection. For one moment, it was calm – clinical, almost – then the audience dispersed, saturating the open white room like brush strokes on an empty canvas. For Givenchy FW23, the message was clear: heritage and youth can always live as one.
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There are two layers to Mia Khalifa. An unbreakable, courageous shell on one hand; a peace-seeking, honest core when peeled back. For Aries founder Sofia Prantera, it was clear from the start that Khalifa was an undeniable ‘Aries Girl’.
Aries has never been afraid of an underdog. The brand’s ethos is built from an innate desire to form a collective – a place where all are welcome. The Aries community, forged by an electric range of artists, image makers and change-makers, has been creating a new narrative for genderless streetwear for years through boundary pushing collections and multidisciplinary exhibitions, publications and international art shows.
Now, the model and rule-breaking label have joined together for the release of a limited-edition monograph, painting an intimately raw portrait of Khalifa. Featuring juxtaposing image sets shot both in studio and at Mia’s home, the Jonny-Lu designed release touches upon reality, diaspora and – at the crux of it all – openness. “I felt immediately inspired by Mia’s ‘Punk’ attitude,” said Prantera of Khalifa. “She is strong but extremely humble, and under her glossy appearance there is a tough young girl who has had to fight her way through so much adversity. I wanted to capture her wild spirit; raw and unpolished.
The book’s exterior, crafted from pulped, textured paper almost acts as a representation of Mia’s humble, unpolished side – whilst a baby blue ribbon sits daintily on top, a vision of softness often disregarded when observing Khalfia’s spirited personality. Inside, in full glory, you’ll find a two-part story of a true ‘Aries Girl Blueprint’, Mia Khalifa. On one hand, a glossy, polished Mia poses in studio for renowned photographer Conor Cunningham – stretched out in Aries’ AW23 preview collection, unfazed by cameras and oozing modelesque confidence. On the other, a Clare Shilland-produced set of images showcases Khalifa’s often unseen, softer side at her home in Whitstable, Kent: smoking alone by her sun trapping window; eating at her dining table; intimate shots on her bed.
The limited edition monograph is also accompanied by interview excerpts conducted by writer, activist and model Deba Hekmat. Reflecting on her career, love of London and inner issues with identity, Mia reveals to Hekmat: “I still very much struggle with my identity. I think that my values, my roots – everything about me is very much Lebanese, and I never want to lose that entirely.”
Mia by Aries is now available to purchase exclusively from www.ariesarise.com.
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We hope you’re not too exhausted from the excitement of Milan Men’s Fashion Week because the show’s only just begun. Now heading North, all eyes are on the city of Paris for the next instalment of stunning menswear. The important question: who will be there? Stick around and find out, as we’ve compiled a list of legendary players and fresh new faces that you won’t want to miss.
WALES BONNER – 17/01 (17:30 CET / 16:30 GMT)
British fashion designer, Grace Wales Bonner, is taking her menswear collection overseas to Paris, kicking off the week at 16:30 GMT today. Featuring youthful designs with an afro-centric twist, the brand is renowned for its playful take on luxury. Their SS23 Menswear collection debuted an array of football-style shirts with bold lettering, mesh long-line shirts, and ballooning parachute pants. Set your alarms! There’s not long to go…
SAINT LAURENT – 17/01 (21:00 CET / 20:00 GMT)
Long-standing Artistic Director at Saint Laurent, Anthony Vaccarello, returns at 20:00 GMT today for the brand’s menswear show, and after their last one in September we couldn’t be more hyped. Their last show for SS23 took place in a literal desert in Marrakech so it’s safe to say our expectations are very high. What awaits us this evening is likely to be awe-inspiring, so do not forget to tune in.
GIVENCHY – 18/01 (14:30 CET / 13:30 GMT)
Another show with the potential to transport us to a different dimension is Matthew Williams’ Givenchy, at 13:30 GMT tomorrow afternoon. Their last menswear show in June of 2022 had models in multi-functional elevated streetwear walk across a milky, white lake. Random but breathtaking. We’re holding our breaths for a collection as jaw-dropping as it’s venue. Matthew Williams: blow us out of the water.
ISSEY MIYAKE – 19/01 (11:30 CET / 10:30 GMT)
What we’ll see from Issey Miyake this week is somewhat of a question mark, considering the last menswear show we saw from Issey Miyake in Paris was devastatingly the legendary designer’s final show. Passing in August last year, Issey Miyake was known for his stunning use of pleats, something that will undoubtedly be carried on by the brand as his legacy. Prepare yourself for a potentially tear-jerking show.
RICK OWENS – 19/01 (12:30 CET / 11:30 GMT)
Rick Owens’ SS23 Menswear show foreshadowed the end of days, but thankfully the apocalypse hasn’t arrived just yet and thus we’re being treated to another of his stunning collections. Featuring loose, clinging fabrics draped over models, extraordinarily high shoulder pads, and some amazing use of chrome, the brand’s last collection was transportative. We’re just wondering where he’ll take us next.
LOUIS VUITTON – 19/01 (14:30 CET / 13:30 GMT)
Louis Vuitton’s last menswear show was a kaleidoscopic event held on a runway reminiscent of a child’s toy surrounded by giant inflatable red balloons. The looks were playful and exciting, featuring tulle tutus and hypnotic patterns. Whether they return to this youthful aesthetic or decide to take on a more subdued look is yet to be revealed.
MAISON MARGIELA – 22/01 (20:00 CET / 19:00 GMT)
For the finale of Milan Men’s Fashion Week, none other than Maison Margiela. With a juxtapositional menswear collection last year, showcasing black leather trenches alongside silky pink trousers, the brand synonymous with subverting what we expect from a luxury label has been bestowed the honour of closing Paris Men’s Fashion Week, and Men’s Fashion Month as a whole. It’ll be sad to see it end, but not for long as Women’s Fashion Month is on the horizon.
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Welcome to the Engine Room. Charles Jeffrey LOVERBOY’s industrialist entry into Milan Fashion Week was a ‘Utopia Engineered for You’ as the Scottish designer’s eponymous label’s AW23 runway show told the story of beaten down workers, tabloid ‘Snakes’ and glossy LOVERBOY ‘Posers’ fighting for survival in the heavenly floating city of Ajuka.
As models stomped down the warehouse-esque space to a rave worthy Kunde remix of ‘Dama’ by Inprocess, we hungrily absorbed a glimpse of revolution, showmanship and workhouse-core propaganda. But in the case of Charles Jeffrey LOVERBOY FW23, the devil was in the details. Enter: satirical accessories galore and youthful rebellion against a capitalist world. From lashings of newspaper scandal to wearable roadkill, we’ve curated some of the standout accessory pieces from the triumphantly playful show.
CONFIRMED: EARTH IS LAME
You heard it here first. Sarcastic, scornful digs at the media were brandished across a range of ‘Snake’ models; a sly, gossip-spreading city gang. A crumpled headpiece in the form of a newspaper piece titled ‘CONFIRMED: EARTH IS LAME’ teetered on the head of a Snake as she sauntered down the runway, tittle-tattle distribution at the ready.
2023’S HOTTEST NEW ACCESSORY? THE TOOLBOX
The underdogs of the show, the ‘Workers’ showcased their furnace-shovelling plight in many ways – soot-smeared faces, chimney-sweep headgear and solemn, gaunt expressions. Little did these factory-imprisoned characters know that they were giving us the unexpected accessory of the year: a wrench brimming, dirtied workman’s tool box. Move over, YSL lunch box – this is what the people want.
A SHARP UPGRADE 4 THE PAW BOOT
The infamous Charles Jeffrey LOVERBOY x Roker Lion Claw boot made a welcome return to the runway this year – with an updated look. The immediately recognisable, eccentric footwear was seen on the trotters of multiple models in the fresh form of monster-coloured loafers and platformed Mary Janes. The shoe’s classic polished metal claws jutted menacingly from the toes of each foot, giving serious ‘I bite’ energy.
VICTORIAN LANTERN, BUT MAKE IT FASHION
Ebenezer Scrooge is shaking rn – his favourite bedside candle accessory just got an era-appropriate upgrade in the form of a DIY Victorian lantern. Adorned with LOVERBOY scratched out star motifs and held up to head-level by a Worker (with a worryingly disturbed expression), this unlikely accessory contender lit the way down the runway.
THIS DEAD RACOON WAS A PAID ACTOR
Roadkill, but make it fashion. The star of the show was arguably the (weirdly adorable) dead racoon scarf that dangled solemnly around a Worker’s neck. Its X-marked eyes and limp, knitted body was reminiscent of a luxurious stole worn by the Worker’s affluent counterparts.
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The world of Frank Ocean is one that deserves a deep dive with a clear conscience and open mind. The artist has been referred to as avant-garde in the past, as well as introspective and elliptical. However, I often take a peek into Ocean’s discography and see him as a shapeshifter of sort, capable of not only working in any genre, but excelling in each and every one.
Ocean’s accolades are an accurate reflection of his cultural significance within the Gen-Z community. He’s been awarded two Grammy’s, a Brit award for the best international male solo artist, and was listed on Rolling Stones’ 500 Greatest Albums of all Time in 2020.
Keep reading as I uncover five of Ocean’s most important tracks. They might not be your favourite, or even his best five. But these are five songs that you need to know about.
Maybe not your favourite double C’s, but definitely one that everyone can afford. Chanel is a cult staple among neo-soul enthusiasts everywhere. In this particular track, his vocals shine through with a pristine, angelic tone while the beat carries itself through your body.
In a true rendition of a cult takeover, Chanel has become revitalized in a completely different tone through a certain, popping house artist. Fred Again … released a take on the tune on all platforms except Spotify and Apple Music.
In this variation, Chanel is brought to a completely new level alongside Fred Again’s live play-in. Check it out below!
A completely and utterly slept-on track from channel ORANGE, Pink Matter features Andre 3000 from Outkast in a tone that we rarely hear from the OG. At first, Frank Ocean carries himself in a typical manner: Head bobbing, extended wobbly vibrato’s, and of course, heart-thrashing lyrics.
Andre 3000 enters the frame about two-thirds into the track, dissecting his relationship with women as someone in the limelight. In a unique fashion, we learn about the perils of dating so-called “regular” people as a celebrity musician.
Coming in from a totally different angle is Slide, a bubblegum, summer banger that features a few unfamiliar faces in his discography. In true Ocean fashion, he maintains the same flow and evocative voice that we experience in other tracks. Although, we’re treated to a little bit more hype, presumably due to the energy of the Migos.
Pink + White
Pink + White is simply one of those tracks that get it done in every department. It’ll have you vibing in the kitchen with your significant other, bobbing your head while doing work, crying in your room, or even flying down the highway jamming out. Well, I can’t promise any of that. Although, I can promise that this song will have you thinking you know how to play the piano because once that riff comes out, you’ll be playing the air keys.
A bit out of the left field, Swim Good is an underrated single from 2011 that combines Ocean’s staple sound with some of the pop aspects of Slide. It truly gives main character energy, sprinkled with a little bit of mid-2000s flair and topped with good vibes.
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Joining the ranks of some of the world’s most renowned Italian heritage fashion houses is no mean feat. Luca Magliano’s eponymous house has been changing the fundamentals of ‘Made in Italy’ since 2016, with its genderless approach to wardrobe staples and up-cycled, sustainable production streamlines bringing new life to often unwavering Italian design traditions.
Magliano’s FW 2023/2024 show hit the Milan Men’s Fashion Week runway in a way that we could have never expected. Redefinition, as a term, is a strong one – yet the show’s quietly powerful message took Magliano’s latest offering for future heritage contender status to new levels, as the label effortlessly combined their classic Italian menswear silhouettes with utopian, evolutionary twists.
THE SCENE WAS SET, THE CHAIRS WERE STACKED
Upon first glance at swathes of vast darkness surrounding the runway, you wouldn’t be blamed for craning your neck eagerly in an attempt to catch a glimpse of the opening look to Magliano’s Fall/Winter 2023/24 show. The audience, plunged into the shadows, were visible only as faint outlines peering into the spotlit catwalk – and just beyond the eyeline, a towering stack of mismatched chairs teetered precariously on top of one another as they snaked upwards towards the cavernous ceiling. Dotted seats stood illuminated by random and the specked, sporadic highlights created an enclosure-like feel within the space, as if protected by walls of unwanted treasure in a junkyard. A nomadic, peaceful atmosphere washed over the room instantly as the procession began.
THIS APOCALYPSE HAS A UNIFORM
Post-apocalyptic elements with contemporary twists featured heavily within the collection, in-keeping with the show’s haunting, deliberately desolate atmosphere which followed a candid show experience stripped of all superfluous runway gimmicks. A faded, sleeve-ruched boiler suit paired with scuffed boot renditions of their foot-hugging Monster loafers on one hand; an earth toned, fraying tweed suit on the other. Bouts of business core were prevalent within the collection in the form of deconstructed, form-hanging blazers, oversized dad ties and pinstriped, floor-dragging slacks. A tailored jacket emblazoned with the words ’NO BY MAGLIANO’ took centerstage as its wearer marched slowly down the runway, turning only to stare – as if consumed by the audience’s energy – around the space.
Notably, accessories and smaller outfit adornments were given a rare chance to shine due to the the show’s elongated pace; on top of a narrow, chain-linked belt perched a gold bottle fly; obi-style waist wrapping elements adorned the waists of a select few; a platinum, knee length plait of horse-like hair swayed from one model’s midriff, and a Magliano-stamped clutch bag featured a glistening pearl strap, dangling below a pointedly placed packet of cigarettes and a lighter – a true juxtaposition of purity and doomsday decay.
EERIE VIBES ON THE MUSIC-FRONT
Perhaps most significantly, nearly all of the models approached the runway with if not one, both hands burrowed deep into the pockets of their layered looks. Swinging, deliberate movements from models created more of a parade with purpose as opposed to a runway show. Inviting the audience to absorb every minute detail of each look, models walked with an almost ritualistic intent to haunting, cult-like music, each step representative of Magliano’s fluid, conscious style. In perhaps a quiet nod towards the Bologna-born brand’s unprecedented rise to the top, sitting amongst the most foreboding Italian fashion houses, the procession marched on – slowly, yet deliberately – to the beat, as if initiating a sacred ceremony.
Many audience members were even reported to have been spotted shedding a tear as the show came to a close and the soundtrack transcended into an occult-ish crescendo. As a new era dawns for heritage, you can be sure that Magliano will be leaving the Made-In-Italy revolution for the next generation.
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As the menswear leg of Milan Fashion Week draws to a close, we have exactly one day to breathe before Paris ups the ante. Whilst you prepare yourself for another week of shows, parties and stand out season pieces, we’ve rounded up some of Milan Fashion Week’s key moments that packed a punch on the runway.
CRYSTAL JEANS & MAXI-LENGTH DREAMS AT GUCCI
Gucci’s anticipated return to the Milan Men’s fashion week schedule post-Alessandro Michele was an Indie-sleaze magpie’s dream. Pants in shimmering varieties blinded the audience as models debuted GG crystal-studded jeans, chromatic trousers and sequin-ified denim, whilst hot pink boots provided a contrast to the return of their cult-classic Princetown loafer silhouettes.
1017 ALYX 9SM FW23: AN ODE TO THE EMO THRIFT SHOP
The latest show from Matthew M Williams’ brainchild label 1017 ALYX 9SM was an ode to anarchy. Traipsing out like angsty teenagers in an emo thrift shop, models were decked out in studded kneecaps, graphic-statements and puddle-ready, gargantuan stomper boots.
FURRY HICKS AT DSQUARED2
Rodeo chic met Y2Kat Dsquared2’s FW23 runway show, where groin-skirting denim, ‘I heart beer’ hillbilly belts and baby tees emblazoned with motifs such as ‘Choke’ and ‘It’s a boy!’ delighted the audience in their hick-meets-jock collection. Bonus points for Fleecy chaps, chainmail extras and hats fit for a bear-hunt.
FENDI’S IRL BAGUETTES
Fendi dropped an (almost) IRL baguette during their FW23 runway show in this satirical take on their renowned noughties bag. Boulangerie-core aside, cut out shirts fit for an avant garde teacher and sheer knitwear were clear standouts in the collection.
JORDANLUCA’S TRIPLE-THREAT LONSDALE KNICKERS
In the collaboration of the year that literally no one expected, Jordanluca teamed up with grandad-beloved sportswear brand Lonsdale with what can only be described as a knickers triple threat. Layering three pairs of Lonsdale-branded boxers underneath a velvety dad-style maxi suit, Jordanluca gave Miu Miu’s cult briefs a run for their money.
APOCALYPTIC-CORE AT MAGLIANO
Magliano said that Apocalyptic-core is in, and we’re listening. The haunting show, made even more eerie by a crescendo of low-howling sounds, featured ragged garments, doomsday style layering and earthy, natural-material knits fit for an end of the world blockbuster.
70’S CURTAINS, BUT MAKE IT ETRO
Down the spotlit runway at Etro, models clad in ensembles reminiscent of a carpeted, matching 70’s lounge set – and somehow, it really worked. The label’s AW23 show featured a coastal grandmother-approved range of plaids, gridded velvet and tablecloth-esque floral prints in this retro-meets-Italian businessman collection.
PRADA SAID CLAUSTROPHOBIA WHO?
Claustrophobia who? Raf and Miuccia took Prada back to the days of 90s minimalism as their ‘Let’s Talk about Clothes’ collection combined pared-back cost of living realism with classic, luxurious tailoring. The focal point? A slowly collapsing ceiling highlighting the crushing weight of reality.
POND VIBES & CARPET BURN AT JW ANDERSON
JW Anderson shows always leave us with so much to unpack. From frog-core clutches (an upgrade or downgrade from the infamous pigeon bag? You decide) to carpet–wielding models stripped down to their knitted underwear, plus sleepy, gaunt faces clasping pillows for a post-show nap that you just know is gonna hit different.
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