At Chloé, Chemena Kamali delivered her best – and perhaps most daring – collection to date. The designer, who captured the hearts of women around the world with her revival of bohemian spirit, has now tweaked her Chloé girl, taking her somewhere less expected. READ MY FULL REVIEW HERE.
Chloé Eve Suede Over-the-knee Boots
Chloé Tiered Organic Silk-mousseline Maxi Skirt
Chloé Paddington Embellished Leather Tote
Chloé Gathered Tie-detailed Lace-trimmed Silk-satin Mini Dress
Collage by Edward Kanarecki.
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Julian Klausner’s latest collection for Dries Van Noten explored clashing styles as a means of finding one’s identity – “a moment of self-discovery.” At times, it seemed to be trying to say too much, particularly with the preppy uniforms and pixelated prints. Yet toward the end, the lineup revealed what Klausner does especially well at Dries: a kind of contemporary folklore, a patchwork of sensibilities and influences. These are clothes that roam freely between Paris, the Highlands, and Bhutan – the red mok-like wrap worn around a school jacket was a striking blend of cultures.
Dries has long been a master of unexpected combinations, and Julian proves himself an A+ student, treating his affection for eclecticism in an assemblage-like manner (Władysław Hasior’s work comes to my mind). Worth noting was a pair of collegiate jackets stitched seemingly at random with embroidered ribbons, in the way a young girl might scribble across her jeans. There’s something equally profound and joyfully carefree about the designer’s approach to personal style.
Dries Van Noten Satin Wedge Sandals
Dries Van Noten Draped Polka-dot Satin-jacquard Blouse
Dries Van Noten Sequin And Bead-embellished Satin Clutch
Dries Van Noten Embossed Crepe Blazer
Dries Van Noten Gathered Polka-dot Satin-jacquard Shorts
Dries Van Noten Leather-trimmed Suede Sneakers
Collage by Edward Kanarecki.
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Before moving to Milan to join Versace for good, Pieter Mulier delivered one last outing at Alaïa – a collection that felt less like a grand finale and more like a palate cleanser, even a kind of foundation laid out for his successor.
During his five years at the brand, Mulier pushed Azzedine Alaïa’s codes in unexpected directions – sometimes achieving remarkable finesse, at other times proposing busy, hectic ideas that risked overdressing the woman. His epilogue, however, is pleasing precisely because it returns to the core of what the house represents at its essence: body-enhancing clothes that appear simple, yet are in fact the result of meticulous construction and extraordinary precision.
That was Monsieur Alaïa’s intention behind every haute couture and ready-to-wear collection; Mulier seems to have taken it fully to heart here – better late than never. “To reduce, reduce,” he concluded backstage. No bags, no jewelry. “Only beauty and clothes and a naked shoe.”
And indeed, that understated beauty was visible in the clean lines of flared coats, scoop-neck engineered jersey dresses, and a perfectly tailored leather blazer.
Collage by Edward Kanarecki.
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