This weekend Italian fashion house Marni’s Fall Winter womenswear show took place in the same location as the menswear show only a few weeks ago. Guests were welcomed into the space of dim multi-coloured lighting and speakers as they eagerly waited for the show titled “NEUROEROTIK” to commence. As the name suggests, creative director Francesco Risso envisioned the show to be a fantaerotic escape game. A game based on the themes of sexuality, sensuality and mind play. It was about exploring the possibilities of re-directing the mind to think of alternative body parts and even garments as erogenous zones. As the electric soundtrack from the movie The Shining was cued, each piece from the collection walked with a double meaning, gold and silvers chains wrapped around the neck and body, silk pleated scarves which hung from the neck and almost dropped to the floor, skirts with two waistlines, mens blazers and jackets cut in half, and sleeves were slashed. It was a quirky humour sort which made one marvel at the possibilities of sexuality, the power of the mind and the concept of fashion design as a means of neurotic exploration. Each piece told a story and gave a stimulus to a different conceptualization of what we know as reality with a primary palette of red, black, orange, white and hints of rhinestones. This woman Risso created around the themes of sexual liberation and experimentation fruited a line of wardrobe components that is in many ways reflective of the feminist zeitgeist we are currently living in.
Just yesterday, Roman fashion house Fendi invited guests to their Milan location to view the final collection designed by the late Karl Lagerfeld. There was something to be said about the atmosphere upon location, the screams of the fur protesters on the outside in comparison to the somber mood on the inside, it was an aspect that was very Karl Lagerfeld. How regardless of protests, laws or whatever was happening, the iconic designer had a code which he lived by and carried to his grave, which is something to be respected.
Of course, the Fendi Fall Winter 2019 collection was an ode to Karl and his half a century with the house. As an apt sound track of Lou Reed & John Cale’s Small Town played in the background, it set the mood for what was to come, a compilation of Lagerfeld’s signature designs throughout time. Starting from the beginning with his classic silhouettes, the first look made it’s debut as a double breasted suit dress with a poignant white bow around the neck. Throughout the collection , the looks featured a various number of different styles and tailoring, the iconic Fendi logo monogram , designed by Karl himself in his ‘Karliagraphy’ font appeared on coats and cabochon buttons there were also floating bow belts, pleated trouser, asymmetric lapels, tulle bodysuits , pointed collars and laser cut leather outwear. Neutral tones of ivory tulle, cognac and beige contrasted shades of sea green, yellow, tangerine and azure. Each piece holding the common thread of the late designer’s expertise. The iconic Fendi Baguette was also transformed into versions of embossed pillow patent, vegetal leather and a multi-strap utility harness. The entire collection was a celebration of Mr. Lagerfeld as a designer whose inception created a whole new era of designers and whose vision helped to shape the Italian house into the brand that it is today. “The bond between Karl Lagerfeld and Fendi is fashion’s longest love story, one that will continue to touch our lives for years to come. When we called just a few days before the show, his only thoughts were richness and beauty of the collection,” to quote Silvia Venturini.
Yesterday Italian fashion house Prada welcomed guests to their show space in Milan, for the viewing of their Fall Winter 2019 Women’s collection. Being the same set to that of the menswear show last month , this show was a continuation of the Frankenstein storyline established in the previous show, from a slightly different perspective. Last season designer Miuccia Prada’s focus was on the outcasts of society, she crafted a collection mainly inspired by the social Frankensteins of society, which was a dark but interesting stimulus. However this season, she decided to shed light on the more affectionate side of such a love story , being love stories like Frankenstein and his Bride. The collection titled “The Anatomy of Romance,” was an exploration of the gloom of love and romance and their duality. It spoke to that turbulent pull one has towards love even when you know it will end in turmoil. As a violin instrumental of bad romance plays in the background, a model struts the runway in a full black gown with an embroidered yellow rose to the side. This was the mood, this was a woman who was strong, feminine, who falls in love and gets her heart broken every time, yet always gets back up to try again. The collection also featured a military utilitarian nod: army green skirts, massive patch pockets, black trouser suits, along with fun features such as lace veils and skirts, a Frankenstein + Bride printed dress, mohair fur ear and head muffs and also mohair fur backpacks. As much as this collection focused on the dark side of things, it also focused on love’s duality and it’s potential to bloom, with flashes of flower prints and embroideries throughout the story. Last season Ms.Prada had lots of fun with a quirky, interesting collection, however this season, the pieces were more practical and serious and also very Prada.
In past seasons, Austrian designer Arthur Arbesser often referenced art from the Viennese Secession for inspiration behind his collections. However, the only valid explanation for the designer’s dexterity in design and architecture intricately executed in his last collection is for him to hold himself to the same standards as one of these artisans.
For Fall Winter 2019, the designer welcomed guests to an indoor sound-reflective rock climbing site on the outskirts of Milan . As the show began, the space was first filled with an arrangement of elegant orchestral music complemented by the clank of approaching rubber boots. Calf high rubber boots fashioned in black, white and blue carefully paired with a selection of colours from Arthur’s palette. The collection took inspiration from the architectural context of his Milan studio which was designed by Luigi Caccia Dominoni in the late forties with a bourgeois classic Milanese aesthetic. Each look was skilfully paired with the most unexpected complementary colours: pomegranate and lychee shade pants, yellow and olive, checkered shirts and skirts, feather textured blouses, architectural jewellery. This collection felt very personal to the designer, as if the woman he was dressing would be a woman he would not only be dressing, but be crafting, and grooming. She felt free, artistic and at the same time cryptic, almost like the a female Picasso who took you on a very personal journey throughout her abstract process, but instead of paint, her chosen medium is fabric.
Last weekend passed this year’s first Fashion East showcase which featured a list of three intriguing London based emerging designers, in showcase of their Fall Winter 2019 Collections. The non-profit initiative, set up by Lulu Kennedy and Old Truman Brewery to support and nurture emerging British talent celebrates its 18th year of triumph after housing designers such as JW Anderson, Kim Jones and Gareth Pugh; just to name a few.
Central Saint Martins graduate Gareth Wrighton was one of the three talents to showcase. Wrighton presented a 22 look collection in collaboration with stylist Ib Kamara titled “Smooth Criminal.” The collection was inspired by a four month residency the designer previously took in Johannesburg with Kamara and South African photographer Kristin Lee Moolman. It cohesively spoke to the stories of political coups, warring dynasties and feuding families caught in a violent power struggle. The looks included flaming hair, bullet accessorised mini dresses and sweaters with burning forests. The collection in itself was nothing short of a political statement.
Gareth Wrighton AW19 | Image via Chris YatesGareth Wrighton AW19 | Image via Chris Yates
In 2017 Designer Charlotte Knowles and partner Alexandre Arsenault launched their South London label Charlotte Knowles London after also completing their masters at Central Saint Martins. Designing for a feminine and strong woman, in the AW19 collection, Knowles explores femininity and ready to wear in a way which disrupts traditional boundaries. Boundaries between the vulnerable and the combative, the human and the natural, the intimate and the public and the strange and familiar. The collection featured wool and technically crafted fabrics, made in soft pastel colours from form fitting, to minimal to fluid. This was the designers’ final showcase with the support of the Fashion East Initiative .
Charlotte Knowles AW19 | Image via Chris YatesCharlotte Knowles AW19 | Image via Chris YatesCharlotte Knowles AW19 | Image via Chris Yates
The final collection was that of Chinese CSM trained designer Yuhan Wang whose collection was inspired by traditional Chinese concepts of femininity and their connections to western culture. She explored the lines between beauty and strangeness , softness, delicacy and sensibility. In her second season showcasing for the Fashion East initiative, Wang’s pieces were made in silk satins, lace, velvet and tulle in ripple technique to flounce around the female form. She presented sheath and tea dresses in a 3 Dimensional way where her ruches and other artistically danced around the body. “ I think of it as the push and pull we experience as women. The constant dialogue between our inner and outer worlds,” says wang. With soft colours of blue, lilac and primrose yellow, the designer pieced together a cohesive collection which told an impactful and interesting story.
Yuhan Wang AW19 | Image via Chris YatesYuhan Wang AW19 | Image via Chris YatesYuhan Wang AW19 | Image via Chris Yates
“Today we are so surrounded by waste. For me I really like when the material has a story. It is like animating something that is currently inanimate: if you put it in a new context it always has this spirit! Especially for our times, we have so much waste and we need to do something about it.”
Renata Brenha is a designer of precision and feeling. Her debut collection, showcasing at London Fashion Week, puts to work this meticulous and formulated explorations of her Latin American heritage, her fascination with Mexico and a pre-occupation with material and its consumption.
Her clothes attempt to catch a spirit, an attitude, of the communities she explores: utilising the silhouette and work with cloth to translate these nuances. There is always a translation – its important the way I work with fabric: pleating, painting, reimagining – but I always want to capture that spirit.
I love performance, and clothes have that ritualistic space. You are in that moment, you are that person.
Each item of her 16 look collection holds an anecdote – I like to feel them as individuals! – which is retold through their cut. The tales range from the Grandma dress, made with studio scraps from the pattern of a dress her grandmother decreed as perfect; the coat-trouser coagulation – there is a Mexican saying “a courageous woman is someone who knows how to wear her trousers”; to her tights top, a reworked version of the improvised thermals her mother created to keep Renata warm in the winter months of her hometown just outside Sao Paolo.
Workwear is weaved throughout the collection – when you travel to Mexico to see communities you see workwear half-references through their natural dress. Traditional clothing with something intuitive about putting things together. I love canvas, it’s something that really tells the passage of time. There is always a story behind it: when you put it behind a female body the story changes that I find so interesting too.
While saved for the presentation itself, headdresses are to be made by a gardener, Luciano. Initially Renata wanted the headdresses to be more dangerous, more testing (initially thinking of cactus) but after looking at images by Claudia Andujar, and the ritualistic energy from her feather headdresses, Luciano felt he could create something similar with moss.
The moss comes together with braids in the hair intertwining, much like the fabric, cuts and reference points.
Renata’s heavy referencing of Mexico came about from the desire to visit a place that she could relate to through the Spanish language, but also look from a distance. Mexico felt like home but also really fresh – a little bit of space but still a connection. She found a lot of affinities with her own home of Latin America: both holding relationships with mysticism and improvisation.
A colour palette deeply entrenched in blacks, whites and blues give clarity and corners to her garments: the smocking, the hand painting, the deliberate reworking. While her shapes are anthropomorphic, and her vision is cut from a refreshing cloth, Renata has just begun her brand – here’s to her future fables of fabric.
Earlier this month Italian fashion house Bottega Veneta released fresh new images for their Spring Summer 2019 campaign. Marking the first campaign for the brand under the new creative direction of Daniel Lee.
The designer was appointed in June, which allowed him means he missed the opportunity for the design process of the SS19 collection but was still able to edit it. However the creative direction of the campaign was solely led by his vision. The previous Céline designer teamed up with photographer Tyrone LeBon to present a selection of images influenced by minimalism and Italian coasts. Shot on the Neapolitan island of Ischia, the images are said to strip fashion and art down to their purest forms in a way which highlights and appreciates their similarities. A black trench coat, woven leather, knit, squared toed pumps. The campaign was a sort of visual documentary on the relationship between skin and material. This peek of the designer’s taste and appreciation for beauty is just enough to gather him an audience of eager new consumers leading up to his debut show later this month, especially during this time when old Céline consumers are scouting elsewhere.
For the final installation of Fendi’s #BaguetteFriendsForever series, the Italian fashion house released a short film shot along the busy streets of the big apple titled “The One and Only Baguette.” The movie, features influencers Caro Daur and Natasha Lau along with models Ebonee Davis and Melissa Martinez. During a lunch break, Daur relives the moment she saw a unique vintage purple sequinned Baguette at the Fendi store and decides she just will not live without it. On a hunt for the baguette, the girl group hurries back to the store where they discover that the piece was just sold. Still determined to cop the accessory , the girls run out into the busy streets of New York to find this mystery woman. During their search they spot the baguette and when she turns around they notice it’s not just a woman, but an icon, Sarah Jessica Parker, who finishes the film with a sassy, “This isn’t a bag, it’s a baguette.”
Last week the brand launched the campaign #BaguetteFriendsForever which included a series of short films featuring the storylines of inseparable groups of friends around the world throughout one of their daily routines which is centred around the iconic Fendi baguette. The first episode was titled “The Baguette is Back” and was an adventure set in the streets of Shanghai China. The second episode Titled “The Missing Baguette,” was shot in Hong Kong and this marks the final leg off the Baguette series. All pieces are currently available in stores worldwide and online, to shop the looks , visit Fendi.
This week Twin Magazine opens our doors in London to a group exhibition entitled “Twin X” which celebrates a decade of local emerging talent and creativity. The showcase, which opens on January 31st at The Store X in East London, pulls on the visual archive of our biannual print publication featuring the works of several creatives throughout the industries of fashion, photography and art. Collectively curated by Twin Founder Becky Smith; Twin art editor and curator Francesca Gavin; curator and gallerist Antonia Marsh; image director Holly Hay and Twin fashion editor Naomi Miller, the exhibition is an amalgamation of the personal taste and perspective of each curator.
It is a display which collectively showcases specially-commissioned editorial images that focus on independence and individualism, which are themes that have been carried throughout the magazine since it’s conception in 2009.
“As publications have come under increased pressure to compromise over the last decade, Twin has remained a distinct and independent platform for pure creativity. The show celebrates the artists that have helped shaped and define independent publishing as it stands today, ” says Founder Becky Smith.
With work from photographers such as Stef Mitchell, Cass Bird, Boo George, Bibi Cornejo Borthwick, Dexter Navy and Akinola Davies Jr, the show deconstructs a central narrative into four sections: Photographers, Models, People and the Unseen. Exploring the thoughts behind these characters, faces and creatives who are defining the nature of contemporary creativity. The Unseen section of the exhibition will also feature never-before-seen outtake shots from the magazine’s photographic archive, providing spectators with a rare insight into the world of image-making and its process. Twin X features free admission and concludes on February 3, 2019.
Photograph by Yaniv Edry, Issue 19, 2018. Photograph by Akinola Davies Jr., Issue 19, 2018.
This weekend in continuation with the Fendi #BaguetteFriendsForever series, the Italian luxury brand released the second installation of the sequence which is set along the vibrant streets of Hong Kong. Titled “The Missing Baguette,” the film features Taiwanese DJ Dizzy Dizzo, Singapore-based fashion IT-girl Yoyo Cao, Japanese model Hikari More and Korean DJ Peggy Gou on the hunt in Hong Kong for Hiraki’s lost Baguette which she accidentally leaves at Fendi store while shopping for new merch.
Last week the brand launched the campaign #BaguetteFriendsForever which includes a series of short films featuring the storylines of inseparable groups of friends around the world throughout one of their daily routines which is centered around the iconic Fendi baguette. The first episode was titled “The Baguette is Back” and was an adventure set in the streets of Shanghai China. To be released next week is the final episode which features the backdrop of the Big Apple and a special guest too. Stayed tuned for more. To shop the looks , visit Fendi.
As we reported earlier this season from the SS19 runways, the Fendi Baguette has officially made its comeback.
The history of the baguette dates as far back to 1997 when Silvia Venturini Fendi first made the pitch for a smaller bag in a time where larger bags were leading the market. Of course the feedback the designer received from the idea was not initially positive but nevertheless she stuck with her guts and released the first baguette on the runways of 1997. Initially it was offered with small straps and the double F logos in brown. Since then it has made it’s way from the late 90’s throughout the Sex and The City Era of the 2000’s in additional styles. And it’s now safe to say it is officially back and has made its return with a fabulous intro.
This week the Italian fashion label has launched their latest campaign #BaguetteFriendsForever which includes a series of short films featuring the storylines of inseparable groups of friends around the world throughout one of their daily routines which is centered around the iconic baguette. The first episode, released only yesterday, is titled “The Baguette is Back” and is shot along the vibrant streets of Shangai, China. It stars movie actresses Tan Zhuo and Qiao Xin along with influencers Yu Wei and Yoyo who are filmed during their venture of a girls night out. The movie starts with the women shopping for baguettes and wardrobe at the Fendi store inside IAPM Mall in preparation for a night at the club. Each film carries it’s own style with a slight hint of humour to top it off with Groove Armanda’s My Friend as their soundtrack. To be released later this month, are also two upcoming films featuring the baguettes’ ventures of Hong Kong and New York. Stayed tuned for more, and visit Fendi to shop.
For their Spring Summer 2019 campaign, Italian fashion house Prada tackles the concept of duality in a video series shot and directed by Will Vanderperre featuring looks from both their women’s and men’s SS19 runway. The series was inspired by classic Hollywood movies and is approached as such.
It features the likes of top models Freja Beha Erichsen, Gigi Hadid, Maine Inga, Liu Wen and Anok Yai re-named after Prada’s supporting cast of accessories: respectively Sybille, Sidone, Margit, Odette and Belle inspired by iconic female cinematic icons. These women are also accompanied by three male characters played by models Daan Duez, Jonas Gloer and Tae Min. The campaign’s direction is a play on an iconic genre of cinematography: everything is familiar, but not too much, all holds a double meaning. Movie star?or model? Menswear? or womenswear? This series is created to guarantee you a few double-takes upon viewing. And like any other movie, it’s accompanied by posters directed by Benoit Debie which hints at the imagery and narrative of the films leaving one curious enough to explore the reflections and refractions of the collection. The campaign boasts seven short films, which will be released throughout January and February on Prada.
Last weekend guests were invited to the Milanese headquarters of Italian fashion house Fendi for the presentation of their Fall Winter 2019 menswear collection.
For Spring Summer we were presented with a collection where Venturini drew inspiration from one of the main men in her life, her son-in-law Nico Vascellari, a performance and visual artist who according to her “transforms himself on the stage,” revealing several facets fo himself including a dark side. From this came a collection of light and dark which featured shorts, fanny packs, buckets hats and other streetwear like pieces. However for this season, the creative director chose to muse upon one of the more, or if you dare say, the most tailored male figure in her life. Karl Lagerfeld was the guest artist in this season’s collection to which he contributed to physically and creatively.
“I have never seen him wearing sportswear; he is always wearing tailoring in a contemporary way, ” stated Venturini Fendi, which was exactly what represented the theme carried throughout the collection, — “tailoring done in a contemporary way.”
Upon entry, guests were treated to the scenery of a black and gold replica of Karl Lagerfeld’s personal Parisian library. Then came the models who were clad in classic tailored pieces which made them seem like wealthy fashionable modern day librarians. Tuxedos and shirts were made in organza and accessorised with gold chains, there were puffer parkers and jumpers made in two different colours, high collared shirts and asymmetrical double-breasted suits all made with a palette of black, beige, brown, accents of red, blue and a calligraphic version of the FF logo.
Most looks were accompanied by several forms of baggage which included Fendi logo-ed briefcases, trunks and newly introduced male versions of the brand’s iconic Peekaboo bag and Baguette. The man created throughout this collection was a tailored contrast to the street-like Fendi man previously seen, but he was in fact a character who wore timeless well-made pieces flexible enough to pull out the closet during any season of the year. Visit Fendi for more.
For the Spring Summer 2019 runway show Yves Saint Laurent had their models walk on water in a black infinity pool near the Eiffel Tower. This was the making of high glamour seductive woman unafraid to make a splash with her black 6-inch stilettos. For their latest campaign, under the direction of Creative Director Anthony Vaccarello, the brand tapped German photographer Juergen Teller as they brought this woman by the waters of Lake Como for a smoking series of alluring shots. The campaign features Danish model Freja Beha Erichsen, along with Abbey Lee, Julia Nobbis and Mica Arganaraz wearing daring pieces from the collection including asymmetrical dresses, thigh high stockings and mesh tops complimented by drop earrings, silver headbands and of course the classic YSL open toe stiletto. For more visit YSL.
Last men’s season Italian designer Massimo Giorgetti welcomed his audience to volleyball courtside for the viewing of a collection inspired by the beachy sport. However for FW19 , Giorgetti had a rather more dangerous impulse for the inspiration behind the latest collection. The art of motor racing culture and the adrenaline from the velocity behind it was his sole focus this season. “MSGM is evolving. Speed has always been at our heart, the fast passion of life. What do we do as we grow? We go faster,” to quote the man himself.
The collection was aptly titled TURBO and featured graphic pieces inspired by the thrilling qualities of the world of motor racing. It included knitted jumpers and t-shirt with the slogans “more speed” and “run away”, bright coloured parkas and trucker jackets, wide cut denim cargo pants inspired by pit crew uniforms, motorsport newspaper stories printed on coats and of course the customary reference to Milan with an embroidered blouse of the Duomo’s skyline. The collection was a rather tailored offering to the table of streetwear as was included a selection of double breasted blazers and wool coats complimented by both sneakers and formal footwear. See more at MSGM.
Last season designers Loris Messina and Simone Rizzo launched the womenswear branch to their minimalistic Italian label Sunnei in commitment to their vision of building a worldwide community amongst the brand’s fan base. For FW19 , the brand invited guests to an airy liberty-styled white room in Milan called Palazzo del Ghiaccio (translates to ice palace) which was previously used for ice skating.
The location itself accurately represented the brand’s aesthetic, it was large and simple but procured an admirable level of architecture. The seating arrangement dispersed the fashion hierarchy by not featuring second or third rows but a simple maze of seats which placed each guest at a reasonable distance from the passageways. This was quite unlike what any other brand would do which was exactly the brand’s major message of the season. They presented a collection which made you note that they were not designers who follow guidelines or go off trends but rather create their own. With inspiration from personal experiences throughout high school and college, the duo crafted a collection of women’s and menswear featuring flared trousers, bumpster pants, knit sweaters and blouses, and pastel colored pieces. It included standout pieces such as a sweater with a pixelated meadow and cloud landscape from the Windows 98 OS background along with interesting versions of their classic boots and sneakers. The 41-look collection was very ‘Sunnei.’ Each look contained the brand’s special ingredient of maximal minimalism with small grains of nostalgia carefully sprinkled. Visit Sunnei for more.
This season, M.1992 designer Dorian Tarantini referenced the allure of the past as major inspiration behind the FW19 menswear collection presented yesterday in central Milan. The designer invited guests to a 60’s inspired vintage ballroom in a corporate Milanese hotel as he revealed a collection which although gave nods to the swinging sixties, was aimed at the upcoming generation, Gen Z. It began with big hair, flared sleeves and pants, and continued with full patterned looks leading into Baracuta jackets and tailored blazers. Also included was an ode to Britain, as the designer paid tribute by including printed designs of the British flag and signature British style throughout a few pieces, which he states in his show notes, does not act as a form of appropriation, but rises from an authentic sense of belonging having been a frequent traveler between the two worlds as a child. As his fourth official season on the scene, Tarantini is finally beginning to establish a design voice which speaks for itself, the collection was one which not only felt cohesive, but also held strong evident traits of brand personality.
English creative hub Somerset House has recently tapped two of fashion’s headlining Asian photographers Hanna Moon and Joyce Ng for the conception of an upcoming exhibition entitled ‘English as a Second Language.’ The exhibition, set to open on January 25th, will be driven mainly by the work of these two Asian-born London-based photographers. It will offer a series of images with an interesting perspective, which shall incorporate cultural signifiers, set design and of course fashion as they present their take on Western aesthetics and fashion ideals. While at the same time bringing distinct Asian perspective to their works and challenging the concept of “otherness” to reflect upon the power fashion photography holds in shaping our general perceptions of beauty style and taste. Curated by Shonagh Marshall, ‘English as a Second Language’ is set to be arranged across three rooms. The first of which visitors will be welcomed by the works of Hannah Moon in her series called ‘Heejin and Moffy’ where she uses the architecture of the Somerset House to capture the imagery of the models who respectively hail from South Korea and London in a dramatic re-imagination of Somerset’s neoclassical setting. The exhibition will then continue with the work of Joyce Ng , whose speciality is working with street casted models and natural environments. She will present a body of work which features a cast from the House’s community across a six week period as she invited visitors to take part in on-site shootings. The series will include inspiration from renowned Chinese novel Journey to the West, which the photographer selected participants to embody each character from the novel within the hidden public spaces of Somerset House. The exhibition will also feature an extensive wardrobe from iconic names such as Vivienne Westwood, Phillip Treacy, Molly Goddard, Yohji Yamamoto among others. For further details check out Somerset.
To ring in the new year, American luxury accessory house Coach, launches their global campaign for the Spring 2019 collection today. The collection features floral print dresses, ruffled blouses and dresses, and of course some of the brand’s signature bags — the Parker Top Handle and the Patchwork Dreamer. Coach ambassadors Kiki Mizuhara and Guan Xiaotong and models Adut Akech, Fran Summers and Kiki Williams among others were elegantly captured by photographer Craig McDean in a faded carnival scene in Los Angeles inspired by a western American road trip. The campaign also features a few pieces from the brand’s collaboration with Disney which gives a playful twist on some of the network’s iconic characters. The images of this all female gang breathe cool, confident, effortless spirit from the Coach girl which accurately conveys the inclusive and optimistic vision of the house with the collections main themes. To view the full collection , visit Coach.
Last season Chinese designer Anna Yang, presented her collection on the Spring Summer 2109 runways of Milan which she entitled ‘Fashion Glitch.’ The collection represented a crossroad between the themes of tradition and rebellion. Oversized volumes and neon coloured unorthodox pieces were deconstructed and given traditional silhouettes. It highlighted some qualities of fashion that would be considered glitches in a daring, experimental yet dauntless way. It included PVC fabrics, crystal and studded embroidery , denim and patent leather. The designer’s signature, has always been one which showcases the ethics of streetwear in a trendy, bright-coloured, experimental manner which always seems to pay off in the end. Each season, she aims to keep things fresh and keeps her audience on their toes without being too perilous or couture. Discover the full collection at Annakiki.com.
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