We do not own the rights to any of these images and they have been used in good faith. Every effort has been made to ensure that all images are used with proper credits. If you are the rightful owner of any image used on our site and wish to have it removed, please contact us at ayerhsmagazine@gmail.com and we will promptly remove it. We are a non-commercial, passion-driven, independent fashion blog and do not intend to infringe any copyright. Thank you for your understanding.
Diesel: Glenn Martens is having a lot of fun with denim at Diesel and we’re seeing some truly inventive looks because of that. This collection is a culmination of his truly contemporary approach to the brand’s heritage and current trends. The collection was showcased in front of a mountain of Diesel branded 200,000 condoms; the show aims to promote safe sex via this. Even in a collection so charged by sex and sexuality, it was the clothes people were talking about. That doesn’t happen in an industry where provocativeness is used as a PR tactic. Standout items included distressed jackets & tops, textured coats, chiffon dresses with damaged hems, oversized coats and sheer shimmery denim dresses. Martens takes the concept of distressed denim to another level where damaged denim is not an eccentric element but the soul of the outfit. Intrigued!
Fendi: This season Kim Jones found the inspiration within the Fendi itself; it was Delfina Delettrez Fendi whose timeless chic style paved the way for this lineup along with his couture collections. The keywords of this collection are deconstruction and asymmetrically – outfits all styled and layered unconventionally and somewhat reminiscent of a second-year design student’s collection. While I would be lying if I didn’t acknowledge some outstanding looks in this collection that are classic and can be sported by anyone – especially the skirted pants from looks seven. The tailoring and silhouettes were heavily inspired by menswear with delicate details that added nuance to the clothes – there was a uniform-like utilitarian appeal. But this collection just solidifies is my belief that Jones and Fendi are not a compatible match. While it wasn’t the worst collection by Jones’s Fendi, it certainly was nothing to remember.
Etro: Marco De Vincenzo further examines the house heritage and design archives of Etro, this understanding is clear in the clothes. What I would’ve wished from the designer is to do the exact opposite-let go of the problematic past the brand is built upon and craft his own journey. But let’s be real that isn’t going to happen after all Etro is a business. This is a letdown from his last and debut collection – most looks here feel dated and almost uninspired. While there is an interesting exploration of print, textures and textiles it is the styling that brought down a possibly decent collection. Titled ‘Etro Radical’ action does try hard to be radical but it is the epitome of conservative.
Alberta Ferretti: This season the designer’s approach was darker, edgier and sexier than usual, rightly titled ‘After dark blooms’. The collection is a perfect presentation of the well-crafted and executed Alberta Ferretti aesthetic and design language. Ferretti’s foray wider range of clothes including day wear and outerwear has been done consistently along with her signature feminine aesthetic that she has crafted for over four decades. This showcases sincerity and talent to expand the brand thoughtfully. Slinky slip dresses, lux velvet gowns and black sheer lace pieces – plenty of perfect options for a romantic rendezvous. A must-needed relatively mature take of sensual clothing for women of all backgrounds and ages. The focus on tailoring didn’t go unnoticed especially the opening strapless dress sported by Mona Tougaard. Overall Bravo!
Roberto Cavalli: This collection is essentially a line-up of clothes that we all want. A woman wearing Roberto Cavalli is powerful. She is wild, wherever her journey may lead her. With a warm and earthy color scheme to anchor the wild desert sand, this collection transports us to the American southwest. Some standout items included fringed Bellbottom trousers, leather patchwork pieces, pink leopard print, sweeping fur coats, cowboy leather jackets, body con black lace dresses and a couple of dangerously seductive gowns( very reminiscent of the 00s Cavalli). Each look in this collection is an assertive statement and very obviously Cavalli. This is due to the designer’s dedication to the brand’s heritage and archives. Fausto Puglisi has embraced Cavalli with all his heart and it is evident in his work.
Max Mara: This collection, titled “The Camelocracy,” was a tribute to prominent women of the eighteenth century, including the female French philosopher Émilie du Châtelet. They featured plenty of classic camel coats catering to multiple areas of clients. Each look was practical yet sophisticated-signatures of a Max Mara item. Heavy rich fabrics paired with voluminous layering presented a regal energy that is sure to strike a chord with many. Ian Griffiths keeps the colors simple to tan and black with the much-needed break of pretty pastels. While there were some looks I cannot care to remember most of the collection was quite relatable and classic. This was a substantial contemporary take on historic feminine dressing with touches of prevalent masculine tropes. Griffiths nailed it.
Prada: When is something considered beautiful? Raf Simons and Miuccia Prada conceptualized and rediscover the ideal of beauty in this collection. Miuccia Prada has always shunned the obviously pretty; by pioneering the ‘ugly’. She has challenged our perceptions of what is attractive for decades now. Prada and Simmons now accomplish this by giving a more upscale perspective to the brand’s iconic vision. The collection represents understated luxury; quite reminiscent of 90s Prada. Each look is utilitarian but not simple, it is adorned with details that qualify it to be a Prada product. The collection acts as a bridge between everyday wear and evening wear. Most outfits were signature Prada-a range of skirts, shirtless leather skirt suits, luxurious trenches, cashmere knitwear and come ‘ugly’ printed dresses. While the clothes carry dainty elements they exude power and protectiveness. Prada at its Finest!
Blumarine: Nicola Brognano’s Blumarine is growing up and literally on fire! Joan of Arc, a representation of liberty and independence, served as the inspiration for Nicola Brognano’s most recent take on the early 2000s style. This collection does show traces of Y2K fashion but is still is a much less literal interpretation of the era. This collection is a step in the right direction and proves that Blumarine can be more than a y2k brand. The designer played with a restrained color pallet this time, the silhouettes were stronger and the styling more practical. Some remarkable items included metallic draped jersey dresses, knee-high shearling boots, oversized shearling coats, knit co-ords, sheer form-fitting dresses, ruffled blouses and some frayed-hem halter gowns. A lot to like here!
Moschino: Who knew this was Jeremy Scott’s last collection for Moschino, unfortunately, it was one of his not-so-good ones. I won’t be over Scott leaving Moschino for a long time and for the sake of this past brilliant work, I’ll try not to shit too much on this collection. Salvador Dali’s ‘The Persistence of Memory’ served as the initial reference point for this collection. There were obviously heavy Punk references and the Moschino version of a punk princess. This representation of today’s distorted times was present in droopy skirt suits and jewelry. Heavy costume jewelry, biker jackets, elaborate mohawk headpieces, embellished tailored skirt suits, satin decorated extravagant gowns. The excess in this collection was on brand and adds much-needed drama. It showcases a rebellious direction with a touch of surrealism and nonconforming aristocracy. The points he tried to make didn’t exactly land but it featured some enjoyable clothes. While it’s far from the iconic pieces Scott has created but is a decent closure to his Moschino chapter.
Gucci: Gucci’s most recent runway show might provide a glimpse into the luxury brand’s future as it transitions between creative directors. Whoever the creative director is, they are only a little part of what Gucci is. This is the design team’s time to shine; they keep the brand running across spectrums of aesthetics and designers. The collection was created by the team that skillfully combined iconic features of Michele’s Gucci with nods to earlier designers like Tom Ford and Frida Giannini. Some stand-out items were dramatic fur coats, sheer midi skirts, seductive bralettes, shimmery nude dresses, suiting separates and embellished adornments. This collection only makes us curious for Sabato De Sarno’s debut in September. The collection reflects on Gucci as a fashion week constant and reinvigorates the influence of the geniuses that paved the way for the Gucci’s future.
Ferragamo: This new Ferragamo is not extravagant yet anything but minimal. The designer has the right approach – keeping the subtle luxury element in line with a brazen youthful approach. The clothes were a blend of the 1950s Hollywood Glam era with thoughtful contemporary elements. The collection doesn’t feel like a creation by a young designer but rather shows a sense of subtle maturity in conceptualization and execution. The use of the red color is limited; a smart move to not oversaturate Ferragamo Red like the Bottega Green. Maximilian Davis suggests fresh beginnings while still bringing definitive simplicity to life. Here, the idea of elegant old Hollywood is expanded upon; traditional elements are reinterpreted through an imaginative viewpoint. The cuts were sharp, the colors bold and the tailoring impeccable; the recipe for a powerful collection.
Bottega Veneta: This third installment in the series is unique because it continues to redefine what it means to be luxury. Matthieu Blazy has successfully wow-ed impressed us three times in a row; This season marks the conclusion of Matthieu Blazy’s ‘Italia’ shows for Bottega Veneta. The brand abandons its perception of luxury and focuses instead on the perfection of fundamentals. The clothes are the essence of lowkey chic; an idea the brand has always stood for. Garments feature luxurious textures and fabrics used to craft silhouettes ranging from structured to flowy. Range is the keyword here, but also brings the question of did we really need 81 looks. His vision could be summed up in a much simpler sustainable way, nevertheless, the clothes were beautiful. We also saw a wide range of options ranging from daywear to tropical to subtle evening wear and some ultra-chic workwear. The designer imagines this collection to be a parade in Italy, a mighty well-dressed parade. Simplicity wins us over with this collection and translates Blazy’s vision in the best way possible.
Pictures courtesy of Vogue Runway
We do not own the rights to any of these images and they have been used in good faith. Every effort has been made to ensure that all images are used with proper credits. If you are the rightful owner of any image used on our site and wish to have it removed, please contact us at ayerhsmagazine@gmail.com and we will promptly remove it. We are a non-commercial, passion-driven, independent fashion blog and do not intend to infringe any copyright. Thank you for your understanding.
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