Housewives. August Barron SS26

August Barron – you might remember it as All-In – is a brand that makes you feel like a pop doll. Their vintage-inspired dresses are short and cute, often slashed in the most unexpected places and finished with a cartoonish twist. No wonder Addison Rae wears them on her tour.

I loved how Benjamin Barron and Bror August Vestbø approached the theme of the housewife. Unlike Marc Jacobs, who explored that notion at Louis Vuitton back in 2010 in a Mad Men-ish way, the August Barron duo envisioned Grey Gardens’ Little Edie through a Lynchian lens. The result? High-octane drama mixed with 1950s floral skirts, heads wrapped in brooch-pinned cardigans, underpinnings peeking from beneath dresses in a chicly scandalous way, and an undercurrent of despair.

The collection – styled, of course, by Lotta Volkova – is filled with clothes that will be an absolute joy to wear all day and all night.

Collage by Edward Kanarecki.
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Falling Apart Glamour. All-In SS25

It’s not surprising that Benjamin Barron and Bror August Vestbø of All-In found Tess McGill from the 1988 classic “Working Girl” a character perfectly aligning with their sensationally quirky spring-summer 2025 collection. They weren’t only interested in Tess’s wardrobe (high meets low), but also her messy circumstances. Unlike the pop star alter-ego the creative duo channeled in their past seasons, Tess must make a living and her wardrobe must work for day and night. Similarly, the designers wanted to add an element of relatability to their work, both in terms of offering and materials. “I think that often our characters have this idea of something contradictory to them… there’s something about her that is both glamorous and also falling apart, and this time there’s also an element of trying to achieve some sort of version of yourself“, Barron said. The dolls that walked the spring runway certainly achieved that with their charisma, seen in both their walk and appearance.

The designers played with the idea “of wearing clothing on display,” as Vestbø put it. So, for example, a shirt that looked like it was suspended flat on top of the body was anchored by a band of fabric that went around the body, leaving the back almost bare. This collection made great use of the “business in front, party in the back” trope materially and ideologically. Any number of skirts, including the frothy explosion of tulle worn on the finale dress, were shorts or just shorter in the back. Having taken the decision to show once a year, the designer’s “All-In” print publication, said Barron, stands in, in some sense, for the second season. All in all, the designers seem to be writing a case study for a new way of doing things.

Collage by Edward Kanarecki.
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Allina, The Idol. All-In SS24

This very solemn and somewhat regal Paris Fashion Week, some much-needed sass and fun was delivered by All-In. Benjamin Barron and Bror August Vestbø, the design duo behind this brand, have a habit of building their collections around imaginary characters. This season we met Allina. She might be the last real pop star (sorry, The Idol‘s Jocelyn, that’s not you), a slim, blonde diva who leans into an air-brushed kind of glamour. The collection features Allina’s merch, like a very mini tube dress featuring an image of the pop sensation. As Barron explained, the garments related a tale “about Allina’s fall from fame, so it starts off with her as the ideal form of herself, but then things start to unravel as she ages.” The sense of things coming apart was conveyed by a black sequin décolleté and backless minidress with diamanté trim that used negative space to dramatic effect. It looked as if it had been cut away from the top of the thigh to below the knee; a piece of fabric hanging from the back of the skirt connected the top half of the look to the bottom. Allina’s “attachment” issues were illustrated by the looks that had hangers attached, from which hung vintage slips that were more granny than glam, to chart the diva’s aging and fall from fame. Said Vestbø: “We used a lot of mixed materials that felt a bit pop star Las Vegas, like crystals and sparkles and short skirts with these kind of old woman references, like the tin cans or long nightgowns. There’s also a powder puff.” These assemblages also played with the concept of putting up a facade, which was also addressed in a more immediately relatable way in the sweater dress worn by Delfine Bafort. The hem had been extended and only the front was attached to the body of the sweater, which was worn on top of the body. It was suspended by ropes of pearls at the neck, leaving it backless, and the model’s hands slipped through the cuffs, creating a batwing effect. The result was a sort of paper-doll flatness that was very intriguing. Up until this point, All-In’s practice has had Surrealist touches and collage. Helping to ground All-In a bit as it prepares for growth, Lotta Volkova, who has modeled for the brand, worked with Barron and Vestbø on the creation and styling of this campy, bitter-sweet collection.

Collage by Edward Kanarecki.
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