The Origami of Osman

by Lotus Ladegaard

Behind the fashion label known for its architectural and structural aesthetics that flatter and celebrate the female body is British born Osman Yousefzada, who first met the world of fashion through his mother’s couture dressmaking business. After graduating Central Saint Martins, he established his eponymous fashion house, in 2008, and quickly became noticed as one of London’s exciting designer talents. But Osman Yousefzada is much more than a designer, he is an artist who does not settle for a single media, but master quite a few. Each year, the artist publishes the Collective, a cross-disciplinary publication drawing on Osman’s friends, fellow artists and other creatives.

For Resort 2019, Osman has created an exciting and bold collection that will wow his fans and win over new territory. It is fresh, contemporary and features a whole line of stand-out looks. The colour palette had a little bit of everything from black and white to prints, gold and metallic. The silhouettes were interesting and detailed like the tiered ruffled pieces, a little black dress and the outerwear. A silver sequined dress was among the stand-outs as well as a fantastic easy-to-wear coat in gold print. Osman had also made room for some delicate and romantic crepe-de-chine separates that are easy to mix and match like the black and white sheer skirts. Among the more edgier pieces was a black pilot leather jacket with open sleeves for the rock’n’roll fashionista and a great athleisure look with slacks and knitted cardigan that would look great for many occasions. Several of the outerwear was editorial and rather exquisite, it was tailored, feminine and with plenty of movement, it will appeal to many types of women regardless of age and body type.

Osman has created a wonderful Resort 2019 collection and it is easy to spot his talent and unique eye. His designs are relevant, bold and artistic, just like Osman himself.

Giambattista Valli's Poised Poetry

Giambattista Valli’s primary consumer base is well heeled women of a certain ilk. By that I mean women who like transitional wear from work to play to work. So his resort collections are always a happy medium between those through elemental aspect of the human experience. Add talent and a sense of whimsy to the process and you have a collection brimming with poise, clarity and above all pleasure. Visually soothing, intellectually intriguing and subtly comfortable in its realm of glam and functionality, GV’s work is as substantive as ever in this resort collection.

Givenchy and the Colors of Transition

by Clara Thomas 

Claire Keller took over the role of Givenchy's artistic director right before this collection came to fruition but those of us who were seeking a peek into the future was duly notified that this collection is a product of the design team and the artistic director has not fully settled into her role yet. So this collection is a transitional collection but that being said, the design teams at Givenchy are no slouches, as they produced a collection full of vigor, color, and verve. This the singular tones may come across as a bit too structured, they do provide a very strong foundation for Claire to experiment and move this iconic brand forward. 

Antonio Berardi and the Pursuit of Precision

by Lotus Ladegaard

Antonio Berardi was fast-tracked into a fashion career when he studied at the prestigious Central St. Martin’s College of Art and Design, meanwhile working as John Galliano’s assistant. He graduated in 1994 with a noticeable collection which attracted London buyers such as Liberty and A La Mode. He launched his first professional collection the following season. Unlike may other fashion houses, Antonio Berardi’s eponymous house is run completely autonomous due to the designer’s sense for not only fashion, but also manufacturing and business. 

Antonio Berardi has become synonymous with sensual figure-hugging dresses and classic silhouettes. He focusses much on the manufacturing techniques and is not afraid to try out new ones, he also works with advanced fabrics and plays with them. Drawing on influences from many different genres and disciplines from arts to his Sicilian heritage, he always manages to create pieces that collaborate with the female form and enhances it. 

For Resort 2019, the UK born designer presented an interesting and fabulous lookbook that is bound to take fashion editors by storm around the world. It might not be the most glamorous, however, it feels fresh, real and each look stands out. The colour palette was vibrant and fresh with multi-coloured prints, stripes, yellow as well as more subdued tones like dusty and dark green, grey and a pale blue. The silhouettes offered a little bit of everything from fitted and tailored dresses to easy-to-wear dresses. 

Antonio Berardi is a master when it comes to cut and precision, he knows how to construct garments to enhance the female form and every single look has been worked to perfection by him. In such a lookbook most looks stand out and make an impact, especially the burnt printed caftan in chiffon and the multi-coloured striped suit. The oversized yellow dress with pleated skirt felt fresh and youthful while still remaining luxurious and glamorous. The grey/white ruffled top with grey skirt was another exquisite look that showcased his eye for details. Another very stylish look was the layered look with grey trousers and tops with extra length and width at the back as well as little bolero jacket in a busy print. 

Antonio Berardi has created a very fresh, relatable and interesting Resort collection that will take fashion editors around the globe by storm. It will appeal to all his fans and might even pull out a few new ones. 

Marchesa and the Endless Spring

by Lotus Ladegaard

Marchesa is a staple in the world of fashion when it comes to formal and bridal wear. With an eye for delightful details, intricate embroidery and draping along with luxurious and ethereal textiles, Georgina Chapman and Keren Craig have created a brand that oozes femininity and remains a staple on the runway as well as the red carpet despite the recent negative attention that Marchesa seemed to have weathered.

Marchesa’s Bridal Spring collection is exciting, bold and feminine. It features styles that will appeal to a large variety of brides and thus will undoubtedly be hot with any bride-to-be, this season. With their usual mix of embroidered silk, 3D embellished chiffons and organza Marchesa knows how to impress and make an impact that will last.

Several looks and details in the collection stood out and will be remembered. The play on vails adds another dimension to bridal wear and will most likely be sought after. Looks like the fitted corsage dress with draped bow and trail and the over-the-shoulder ballgown with deep décolletage stood out and left an impression. The draped dress with sheer and embroidered cape was another stand out along with a-line dress with the asymmetrical embroidered cape. Naturally, the collection also featured several classic looks such as satin fit-and-flare with exaggerated over the shoulder sleeves and a beautiful lace a-line with key-hole back detail and several ballgowns.

Marchesa is a staple when it comes to bridal wear, and we doubt that will change any time soon, and it is easy to see why. The designer duo knows the brand’s appeal, its ability, and limits and thus moves within those boundaries much to the excitement of their loyal followers.

Futurism's Siren with Iris van Herpen

by Olivia Moreau

Movement and symmetry govern how we see fashion and fabrics in general. So it would be a bit counter-intuitive if a designer decided to slow down that process and bring rigidity to the conversation as a form of wearable art. But Iris van Herpen does not go by anyone's rules. She is a continent of ideas all by herself and this couture collection is brooding with all shapes and sizes of counter-intuitive prescription for a weary fashion editor. Haute Couture's most formidable futurist weaves a sense of dynamism in this mind-altering collection. 

Carolina Herrera and the Levity of Color

by Olivia Moreau

Carolina Herrera suffered some personal tragedies this year and her ancestral homeland is in the midst of an economic crisis exasperated by a communist dictatorship. So it would be perfectly fine if her pre-fall collection came out in dark, broody colors. But that is not who she is and her collection is full of joy and vigor. She embraces happiness through silhouettes and the mix of foundational colors with strong embroidery. From rainbow stitches to floral embroidery that find inspiration from Flemish floral art, her collection lights up an otherwise gloomy year for a lot in the fashion industry. The materials carefully crafted with chiffon and georgette made the collection look more traditional yet youthful to the core. If happiness could wear a dress, it would surely walk into Carolina's atelier.  

Oscar de la Renta and the Winds of Change

by Alara Brodfeld

Fernando Garcia and Laura Kim’s Oscar de la Renta is a product of the new firmly entrenched in the old. And their bridal collection sits right in between that equipoise. While benefitting from the ongoing revolution in the bridal market where traditionalism is being slowly inched toward avant-garde, their work provides consumers with the right kind of choice. A choice between haute couture heavy to iconoclastic edgy. That being said if you want an outright rejection of bridal traditions, you may have to look elsewhere as Garcia and Kim subtly addresses the traditionalism through floral appliqués and tufted tulle trains. A concise and ultimately visually pleasing collection of bridal wear suggest Oscar de la Renta is on the right path, all be it a little too cautiously.

Alena Akhmadullina's American Excursions

By Linda Bezos

Alena Akhmadullina is slowly breaking into the American market. Her work has always been about extravagance that works as a buffer for exclusivity within the context of the Russian and Eastern European ruling classes. But that same appeal would be viewed as impractical within the context of American ruling classes as less is more when it comes to less flashy cultural elites. And as she navigates into the American market she is slowly but surely understanding the role of minimalism even when the work in itself holds true to a celebration extravagance. Her Fall 2018 collection is built for the American market in mind. It is more minimalistic comparatively speaking and has the traditionalist element of Alena's homeland constructed into it. The usage of less fur and more light fabric makes this collection the most accessible for the American and European market and are likely to further Alena’s reach. 

Striking a Pose with Zac Posen

by Andrea De Silva

Zac Posen encapsulates drama like no other. This resort collection is inevitably full of drama with floral prints to frocks that evoke a sense of poetry. The movement and the silhouettes of the collection are firmly on the cusp of evening wear which is Zac Posen’s bread and butter. But beyond that, this collection also feels much more organic and less planned, and foundationally closer to a full wardrobe as opposed to a full narrative. The signature Posen elements are all there with a sense of spontaneity and clarity of vision. If there is a grand narrative in each artists vision, then this collection fits in nicely with Posen’s previous work yet stands out with a sense of purpose.

Kimonos and Metalworks of Fendi

by Lotus Ladegaard

With just a few years short of 100 years in the world of fashion, it is no surprise that the Italian house of fashion is a household name and a staple in its industry. Led by the fifth generation Fendi sisters, Fendi has continuously designed Led successfully through generations by the Fendi Family, the brand has established itself as a luxury brand with a focus on especially fur and leather pieces. In 1965 Karl Lagerfeld joined the company and became the Creative Director for fur and women’s ready-to-wear, the latter was launched in 1977.

For Prefall, Silvia Venturini Fendi and Karl Lagerfeld have found inspiration in ironwork and kimonos. The mix might have an odd ring to it, nevertheless, the two insightful designers have created an interesting and bold collection. The collection is intriguing and exciting with plenty of references to artwork on iron gates and vintage men’s kimonos, some more literal than others.

The color palette is far from subtle although at first glance it might seem somewhat subdued. The bold prints and severe tailoring transfers really well at a second glance and it makes quite the impact. As always with Fendi, the tailoring and finishing are absolutely exquisite and impeccable. The contrast between the masculine, sharp silhouettes and the ornamentation and frills made it a very Fendi-esque collection.

Many of the suits and coats were elongated creating an interesting silhouette and featured quirky embellishments such as oddly shaped lapels and oversized pockets. Coats were often styled with aetherial pleaded skirts or very feminine pieces.

From suits and fur coats to dresses and skirts, the Fendi Prefall 2019 collection offered it all with several standout pieces such as the dress with cut-out sleeves in an earthy brown tone and the silk printed dress with kimono sleeves just to mention a few.

Fendi and Karl Lagerfeld have yet again created a beautiful and very fashion forward collection that will appeal not only to their loyal followers but to women around the world. It is exciting and nothing short of what is expected from the prestigious Italian fashion house.

The Second Coming of Luisa Beccaria

by Amanda Hanson

Luisa Beccaria and Couture have always had an intricate relationship. Despite not having a proper couture collection since 1995, her work has always coat-tailed along couture among the more hip crowd. The ever-present sense of femininity with a dash of ethereal whimsy is the foundation of Luisa’s work and that is translated into a universal language of high couture in this collection. Unlike the plethora of haute couture houses who view “more as more”, Luisa focuses more on the personal experience of wearing couture… of looking at couture as the vehicle of supreme individuality. And for that, it is a great joy to welcome her back.

Jill Stuart's Chelsea Girl

by Olivia Moreau

Jill Stuart delved into the narrative of an empowering woman during NYFW. Her previous work which by any measure has been a celebration of women of all different kinds and shapes was the foundation of this wonderful presentation. Forging the traditionalist format of a catwalk, Jill Stuart decided to evoke "the Chelsea Girl" movement as her inspiration. In terms of the aesthetics, the clothes were old school romanticism mixed with new school functionality. From the metallic brocade coat and microfloral silk dress engrossed in a copy of Pulp Fiction to the Langley Fox illustrations, the whole presentation had a feel of richness and deep understanding of what makes clothes beautiful. Visually stunning, intellectually stimulating and thought down to every detail Jill Stuart outdone herself in this wonderfully rich and evocative collection. 

Julie de Libran's Fashion Liberation

by Sylvia Stoss

Julie de Libran has seen it all or at least have seen enough of the big fashion houses to know what works and what does not. In her stellar yet young career she has gone through Prada, Versace and everything in between. So her niche’ brand does not lack in gravitas, neither does it lack in originality and poise. Julie’s work has evolved over the years and her Couture collection in Paris encapsulates that evolution into neatly held ideas as dresses. Feminine and liberating JdL constructs a narrative of utmost ease and effortless grace. Add a sense of sustainability to the process and what JdL has done is both understated and extraordinary and are bound to have a strong impact on the commercial aspect of this ever-evolving art.

Isabel Marant and the Tightrope of Athleisure

by Samantha Mitten

Pre-fall is a curious time for designer houses. It's neither here nor there. So pre-fall has become a far more experimental avenue to promote what is already in the pipeline for fall. Isabel Marant understands that very well and in many ways, her pre-fall collection is a collection that is seasonless. The clever, the chic' and above all the Parisian philosophy behind these clothes are what makes them so evocative and worthy of a double take. The skin tight pants to blazers to leggings make this collection a testament to Isabel's ability to find equipoise between leisure and athletic without going overboard into athleisure territory.