With diva capes, slit dresses and sleek rompers in tow, Alexandre Vauthier has managed to create a bold and inspired haute couture collection. Offering his own twist on Hollywood glamour, the clothes cater to women who wish to look red-carpet ready, but with distinctive artistic liberties that will distinguish them from the crowd.

Touching on the concept of sex appeal, the side-slit dresses expose just enough skin on the hipbone, which will please viewers on a surface level. But the true craftsmanship is evident in the unusual fabric used for some of the pieces including crocodile and eel-skin. While by themselves the fabrics simply exude nothing more than exoticism, their use in flowing, feminine clothing such as dresses and skirts should be applauded, for such construction is really not easy to execute.

Standout looks included: a black tuxedo mini-dress with plunging neckline, a saharienne jumpsuit, a white mermaid dress with hipbone slits, and a mesh mini-dress with an abstract rhinestone decal.
“I went back to the fundamentals of my work, in a very instinctive manner. Back were more intricate, the cuts all that more precise…I wanted to challenge my own work methods, work out new volumes, use new materials,” said Vauthier in a post-show interview with Now Fashion.

At first glance, this collection may appear to be nothing more than an imitation of Hollywood glamour, seeing as how the collection itself was inspired by the likes of Beyoncé, Kim K, Rihanna and Heidi Klum. But what we see here is an A-list collection through an innovative lens of exoticism, exhibition and liberation of the feminine.

Employing minimalist sensibilities, Chinese-born, French-raised designer Yiqing Yin has created a line that is soft, yet structured within feminine beauty. The line was an understated exhibition of draping and smocking techniques, accompanied by the oxymoronic uses of different fabrics. Yet, there exists within these clothes a harmony of different fabrics, such as leather and silk, wool and satin, and therefore a commentary on the complexity that women possess.

The complexity not only lies in the fabrics, but within the mood of the clothes themselves. While the show opened with multiple interpretations of gray satin and muslin, the latter part of the show featured black, laser-cut jumpsuits that were skin tight and intricately designed with a tattoo-like pattern. Asymmetrical dresses were common, with standouts such as a royal-blue Grecian piece, as well as an open gray gown with a fitted satin blazer.

In her representative’s words Yin’s aesthetic is build around “Her aim has been to create a garment that protects and reinforces, being at the same time a second skin and a supple armor. Examining the dynamic potential of pleats, she imagines structures which are never fixed, shapes that are always in mutation. She sculpts the emptiness around the body with, as a common thread, the search for balance and points of rupture between the flowing zones and the sculpted zones.”

This upcoming collection is definitely art in motion, as most haute couture collections are, but the design is practical and accessible enough for the average shopper.

Across an earthy palette of khaki, navy and grey, American designer Phillip Lim created a collection that paid homage to mountain climbing and the “slow and steady” metaphor it carries. Quilted bomber jackets with jacquard print, longline wool parkas and cashmere sweaters were in abundance at this show during Paris Fashion Week. The collection as a whole served as an interesting twist on basics, but manages to offer aesthetic reinterpretations of climbing gear as well.

This is mostly evident in the multi-strapped wool vests. It is a contextual twist on the life-saving gear, upon which the wearer can feel prepared and mobile without the cumbersomeness of the original quilted vest. If marketed widely, this could definitely be a new trend for the basic garment.
Lattice knit tunics were also present in the collection as well. While it could definitely be worn over a bare chest in warmer climates, wearing a thin, dark turtleneck underneath, along with some distressed jeans and combat boots can offer both a rugged and avant-garde look.

Lim extensively spoke about the intersectionality of his collection. “…Sports nowadays and athletics is really part of fashion, with people on the go, and I call them global citizens… we are always moving around so we are always trying to incorporate functional aspects into fashion… I literally take all of that and incorporate that into fashion… because you know I make clothes for real people.”

This autumn/fall collection is perfect for men who want to look sophisticated and rugged at the same time.

Knit sweaters, tapered trousers and colorblock print was the aesthetic of choice for Valentino in their autumn/winter 2015-16 collection. An understated interpretation of the “Swinging 60s” in London, with the parallel Beat Generation of San Francisco, the noted Italian fashion house offers a collection that is casual, yet mindfully crafted.

Intricate, embroidered designs were used on the two most distinguished jackets of the show. The jacket in blue with black leather sleeves was embroidered with black butterflies, while the jet black piece was decorated with planets. Though the choice was risky, it paid off, with the designs coming off as playful rather than kitschy.

The geometrical colorblock print was provided by Australian painter Estelle Stewart. Having been contacted by the house in a serendipitous online review, Stewart was pleased to work with the label. “The design and production team at Valentino have exceptional design skills and superb craftsmanship,” she said in a recent interview with ABC-Ballarat. “As a painter it was fantastic to see my works transformed in that context, to see how the painted image translated when given texture and form.”

The understated color choices such as black, burgundy, navy, and gray was a smart decision on Valentino’s part, for had the colors been pastel, it would have been overwhelming, and seemingly derivative of the eras mentioned earlier. Instead, we have a well-balanced and wearable collection for next year’s winter season.

French fashion house Guy Laroche’s presentation was the debut of new creative director Adam Andrascik. The American born designer, a graduate of Central Saint Martins College in London, put his eponymous label on hold to focus on his appointment for Guy Laroche with an ambitious intent to modernize the label’s inspirational archive. With his first autumn/winter Ready-to-wear collection the new Guy Laroche women was rendered more sensual and rebellious, with a darker street-ready edge.

Speaking to Fashion One the designer discussed his examination of the house’s garments during which he spoke of the realization that his main aesthetic drive was to capture and reflect the current women’s fashion zeitgeist, and that would be his focus to reinvent the label “…making it more relevant. Really look at his work with a fresh eye, make it more modern, make it more bold, make it more exciting”. A dark deconstructed atmosphere was the order of the day to find this new relevance. One of the designer’s references was English director Peter Greenaway’s film The Pillow Book, which revolved around the sensual, fetishistic act of body art in traditional Japanese culture. In the designers vision it was manifested as hand tattooed leather jackets in black and white, overlaid with gold foil Japanese calligraphy. Sinuous knit dresses with plunging necklines and gold and silver embellishments made a positive impression, while deconstructed panel hemmed warrior skirts, dévoré velvets and black lacquered lace gave a gothic voice to the proceedings.

The vibrant and culturally diverse city of London is the sight of one of the most dynamic events on the global fashion calendar. Fashion One returns to London for Part 2 of our exclusive interviews with some of the brightest and best of London Fashion Week Autumn Winter 2015.

Mary Katrantzou

Launching in 2008, London luxury brand Mary Katrantzou is credited with pioneering the digital print revolution, with her work justly famed for its singular visual language which merges cutting edge textile innovation and digital process with precise feminine silhouettes. For her autumn/winter 2015 show the theme was “Kenophobia» – the fear of empty space – resulting in a collection where the entire surface was covered in detail. The collection was a typically askew, vibrant presentation where forms, materials and patterns were juxtaposed to dramatic effect.

Sophia Webster

One of the new rising stars of the shoe world, Sophia Webster creates fun, chic and eminently feminine design in candy colored pop shades. With her newest collection entitled “Freak Like Me” the designer channelled a carnivalesque atmosphere influenced by the circus, presenting a collection of sandals festooned with feathers and pompoms and gemstone encrusted pumps alongside her usual visual arsenal.

Paul Smith

A designer who needs no introduction, Paul Smith is one of the UK’s foremost designers, renowned for a innovative creative spirit that produces garments simultaneously traditional and modern. Fresh off the back of a major retrospective of his work, Paul Smith presented a fresh collection of effortless confident garments. Tailoring was a strong focus with a muted color palette of khaki, charcoal grey and black punctuated by dusty pink and mustard yellow.

One of the world’s most creative cities is also home to a city-wide celebration of fashion. Join Fashion One as we explore the highlights of one of the globe’s premier fashion events in a series of interviews with some of London Fashion Week’s most vital players.
David Koma

David Koma is having a powerful fashion moment, with his recent appointment to creative director at Mugler, bringing a host of press attention and celebrity endorsement revitalizing a brand that had been in the doldrums. Speaking to Fashion One about his eponymous label he said the 1960’s, one of his favorite eras, was a principal inspiration, combined with a sleek body conscious and structural feeling to give a fresh youthful energy.

Paula Gerbase — 1205

Brazilian born, London based Paula Gerbase is a graduate of Central Saint Martins, whose principal interest in tailoring was polished working with the elite of British tailoring on Saville Road. Her label 1205’s collection was characterised by her interest in uniforms and sharp androgynous tailoring, with long line silhouettes and heavily worked over fabrics in a neutral colour palette of khaki, grey, white and marine.

Jonathan Anderson — J.W.Anderson

Established in 2008, Jonathan Anderson’s label is widely considered to be one of the most innovative singular brands in British fashion. With each subsequent season J.W.Anderson refines its aesthetic, characterised by lightness and sense of play. For this season the collection was a departure in references with an uncharacteristic focus on a single time period — the early 1980’s. The iridescent show reveled in the visual pomp and over the top styling of the period all set to a soundtrack by iconic 1980’s act The Human League.

One of the world’s big three fashion weeks, synonymous with elegance and glamour — Milan Fashion Week has kicked off. Fashion One was at the runway and backstage to capture all the freshest insights from the shows.

New Beginnings at Gucci

A highly anticipated show from luxury brand Gucci opened Milan’s fashion festivities. 2014 saw the fashion press glued to the internal upheavals at Gucci, with falling revenues causing the departure of Gucci chief executive Patrizio di Marco who was followed unexpectedly by designer Frida Giannini, events that set the stage for a new era at Gucci. The first collection from newly appointed designer Alessandro Michele, suggested a dramatic recalibration, with a cool androgynous collection, notable for its lack of Gucci glitz, the final exit of the ghost of former designer Tom Ford. Speaking to Fashion One Vogue editor Anna Dello Russo remarked on the strongly romantic, fresh atmosphere informing the collection “…very different from before, very young, relatable to the new generation, very poetic, gentle…’. Influential fashion blogger and writer Diane Pernet similarly praised the collection as refreshing, emotional and poetic.

Fausto Puglisi Punk Vision

A rising star of Milan’s Fashion week, Fausto Puglisi presented a dramatic collection, one not for the faint hearted. A mix of feminine figures inspired the work from the Queen of England to Diana Vreeland, to create garments that mixed punk styles with classic silhouettes in a brash deliberately over the top manner. Hot pink, acidic green colors and vivid yellow punched through the darkness whilst gigantic metal charm belts cinched the body, while skirts were slit dangerously high for a daring body-conscious edge.

Plus more from Milan Fashion Week!

Synonymous with elegance and glamour — Milan Fashion Week was a visual extravaganza. Fashion One was at the runways and backstage to record all the highlights and get exclusive interviews.

Etro’s Rich Findings

After last seasons feminine celebration of luxury, Veronica Etro’s new collection presented a different vision of opulence, one inspired by decadent home interiors, with inspirations from tapestry, upholstery and wallpapers. Speaking to Fashion One, the designer remarked how the collection was intended to express pattern but with print, hence her use of a myriad of different materials and textures to construct each garment with suede, leather, velvet, jacquard combined into a patchwork, resulting in complex visually rich garments, with coats and jackets notable standouts.

Costume National Gets Back To Basics

An exercise in control and an individual sense of femininity with cutting edge materials and clever detailing was the order of the day in Ennio Capasa collection for Costume National. The designer observed to Fashion One that the collection allowed him to mentally refocus on the Costume National aesthetic; “I went back to the roots of Costume and look to the future so I need to reset everything. I like for example to try to push a lot the technology of couture”. The collection was dominated by a luminous reflective black tone, with deconstructed cuts, satin detailing and asymmetry featuring alongside the sleek long lines that are synonymous with the designer’s creations.

Jeremy Scott’s Moschino

Fashion iconoclast Jeremy Scott attacked the catwalk with a typically visually striking, nineties influenced assault. The gigantic boombox looming behind the models, signaled that the collection would be a love letter from the designer to streetwear and style tribes from the era, with references to early hip hop, graffiti and rave culture. Jeremy Scott discussing this influence with Fashion One, remarking; “ I was really inspired by the streetwear in general, thinking about New York streets and that energy and yeah there is definitely a 90s influence…I wanted to play with the Looney Tunes characters wearing Moschino and have them in a hip-hop way, playing with puffer jackets, and army surplus and workwear and turning it inside out and twisting it around and sometimes making it deluxe”. A playful energetic collection that continued to display the colourful and dramatic irreverence that the designer is bringing to Moschino.

Plus much more from Milan’s Catwalks!

One of America’s most creative and imaginative fashion designers, with each subsequent season the designer’s highly thematic creations continue to baffle and delight audiences. For autumn/winter 2015 Thom Browne’s collection was a continuation of the poetic, gothic resplendence displayed at his menswear show the previous month. An array of mournful but immaculate black widows in a presentation that achieved a perfect balance between theatrical designs that make his creations so distinct and dramatic wearable pieces.

A master of spectacle and stagecraft, the designer’s shows are characterised by a rich sense of narrative and theatrical flair. This season’s presentation took place in a custom built reconstruction of a 19th Century Victorian operating theatre, with the story of three girls dying from broken hearts who, unable to be saved by surgeons, turn into angels and ascend to heaven. With this morbid back-story the presentation unfolded in sumptuous fashion. The color palette was deep and monochromatic; this was not a black that swallowed details, rather the rich mix of textures glosses and mattes, the detailed embroidery and sharply tailored ensembles rich with trim, made the garments come alive with complexity and originality. Eye-catching headpieces and intricate veils by the milliner Stephen Jones masterfully communicated the sombre atmosphere by adding another layer of drama and cohesion to the show. A sartorial extravaganza in arguably one of Thom Browne’s strongest shows to date, as well as an undisputed highlight of New York Fashion Week.