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Spring Fashion 2022


“At this moment in time, couture is quite a strange thing with what’s going on in the world. Customers can’t see it, so everything gets sent to them. It’s a bit of a fantasy,” Jones said during a preview, referring to the restrictions that are still preventing many clients from traveling to Paris. In the pandemic age, those conditions can either heighten the mirage-like quality of haute couture, or they can give it real importance. The métier can provide a rare space for ideas that can reflect and affect a broader discourse on fashion and beauty. -Vogue

“I am only doing this for one season, so it’s not like I have to envision a whole new future for the house; that’s a very different exercise,” Martens said. “This is a celebration of Gaultier. I’ve stayed close to the woman Jean Paul created in the past—pure diva goddess beauty, hips, whatever, all that drama he loved. I’m building on that through what I think of his iconic Gaultier moments. This marinière…it’s so him, but I completely fucked it up with all the fake coral spikes. I’m reinventing those iconic moments in my own way.” -Vogue

“A couple of weeks into discussing it with them I asked, ‘Brady, you don’t mean like Tom Brady?’” Chow recalls with a laugh. “They were like, yeah, we thought you knew!” And so the Brady brand was born. -Vogue

Her eveningwear often had an undertone of bridalwear about it, emblematic of a year ahead when all those patient brides and grooms of the pandemic will hopefully finally get their turn down the aisle. The formal silhouettes had the same sensibility as Chiuri’s daywear, but it often cut a sculpted, statuesque line that we haven’t detected this visibly since her Valentino days. A long ivory silk crepe halter dress and a cowled backless dress in silver lamé muslin were testament to that part of Chiuri’s repertoire, and the Italian roots that instilled in her a passion for craftsmanship growing up. Since she was a child, she said, she has seen the local crafts of the south of Italy—where she spent and still spends her summers— die out. It’s why she creates collaborative collections like this one. “It’s a way of helping fashion to survive,” she said. “Unless we all go and live in the metaverse. Then that’s not necessary.” -Vogue

Both were gently influenced by a mythical hidden Sardinian city Barax, which reputedly lurks beneath the lake where this was shot; as ever, Marras was cutting and sewing the identity of his homeland into garments. In menswear, highlights included Fair Isle roll-necks patched with fabric collaged to resemble a wolf; gamekeeper moleskin shooting suits with inlaid suiting patches; and fleeced check shirting and some excellent loose check jackets with matching drawstring pants. New for Marras were the boilersuits, given the same double-face fabrication. -Vogue

“At this moment in time, couture is quite a strange thing with what’s going on in the world. Customers can’t see it, so everything gets sent to them. It’s a bit of a fantasy,” Jones said during a preview, referring to the restrictions that are still preventing many clients from traveling to Paris. In the pandemic age, those conditions can either heighten the mirage-like quality of haute couture, or they can give it real importance. The métier can provide a rare space for ideas that can reflect and affect a broader discourse on fashion and beauty. -Vogue

That was perhaps the celestial component Jones was talking about, symptomatic of a time when escapism has become a spirituality in its own right. Elsewhere, he applied the contours of a Roman fountain to a white dress and “filled it with mink,” while the radiant opening and closing dresses seemed to morph the lines of the peplos—the oldest dress in history—with a sci-fi structure. -Vogue

“We have a new market. You can really see that in the collection. It’s a great exercise for us, because the teams are growing. We have new buyers who love the couture, but they see there is a connection between the two,” he said. “We are small. We’re not Dior or Chanel. In a way, this is very positive, but we still have a conversation between all of us,” he noted, explaining how his studio and ateliers work. “There are no walls. Everything is open, even mentally.” -Vogue

If body empowerment is something he is sensitive to, it’s also because his own three children are in their teens and twenties: Gen Z-ers raised on social media in an age where body ideals have the added extremity of plastic surgery normalization. “That’s what I share with them,” he said, referring to the connection he felt with his cast through the experiences of being a father to young people today. “This could deliver a strong message for young people who are struggling with something. If she’s beautiful, you can be beautiful,” Piccioli said, gesturing at one of his gorgeous cast members. -Vogue

Mirroring that dialogue in the time-transcendence embodied by Rome, Jones mixed the city’s structures with futuristic imagery and applied it to eveningwear. Renditions of the statues outside Fendi’s monumental Palazzo della Civiltà Italiana headquarters hand-painted on velvet dresses and a sheared mink cape looked like the statues in Prometheus or the landscapes in the scenes in The Planet of the Apes. Monastic dresses—black cassocks from the front, white nymph-like gowns from the back—evoked those of the Magisterium in His Dark Materials. -Vogue

Maria Grazia Chiuri always speaks so passionately about craftsmanship and the human touch, it would have been a wasted opportunity not to get her reaction to the new year’s favorite talking point: the metaverse. “Oh, I don’t. I’m not,” she said, with zero hesitation. “I’m not interested in this moment, it’s more important to speak about humanity. I’d like us to be more together and support each other, and put value on work. Probably, I’m a little bit old-fashioned, but I’m more interested in the real thing. I prefer to spend time with real people.” -Vogue

A camel “kimono sleeve” coat, slightly pumped at the thorax, was placed with surgical precision above a collar framed landscape of jacket edge and removable-collar shirt and tie. Cut a little looser was a papery cotton draped mac and a shearling hooded parka with Weston’s favored moire finish. A storm shouldered jacket presented a superheroic silhouette not seen on Jermyn Street since the pomp of Driza-bone, but it was no less impressive for that. The quilting at the back of a handsome check puffer was attractively contoured to echo the upholstery of a vintage driving seat. A black epauletted shirt (based on an archive piece) and luxury submariner’s sweater, plus a killer black leather trench, injected some special ops swagger. Injected-sole chelsea boots, and satisfyingly untraditional backpacks and totes whose leather was shaped to ape the beautiful barleycorn finish of the house’s Rollagas lighters were among the attractive accessories. Dunhill is sailing against the winds of current menswear convention, but winds do change. -Vogue

And, maybe it’s not all that different, in the end. De Libran handled celebrity dressing at those luxury goods houses, so she was often face-to-face with customers—demanding ones at that, who needed dresses that pleased not just themselves, but the millions of red carpet-watchers online. If she’s less focused on event clothes now, the client is nonetheless at the center of what she does. In any case, her work appeals to the sort of woman who likes to make an event of dressing up, no matter the occasion. -Vogue

Why not wear a double-face cashmere wrap coat trimmed with feathers and oversize crystals over your yoga pants? An upcycled jewel clasp and a healthy sprinkling of strass similarly elevates a navy officer’s pullover in the same soft cashmere; De Libran pairs hers with jeans. She describes her output as reworked classics—emphasis on reworked, because she sources many of her fabrics from vintage markets or LVMH’s deadstock platform Nona Source. -Vogue

Designer Daiki Suzuki is known for his stylish-yet-functional outdoor wear, and was inspired by Robert Eggers’s film when a friend recommended Suzuki watch it during the pandemic. “For this collection, I wanted to incorporate the film’s stylistic nuances to Engineered Garments’s staple uniform, work, and utility pieces in a cynical and twisted way, mixing in unexpected materials and textiles; adding an element of craziness to the classics,” he wrote in the collection notes. -Vogue

As for the aforementioned “element[s] of craziness,” the multi-sized pockets and draped pieces are, if not quite wild, at least unexpected and fun. Knit vests, ponchos in bonded fleece and polyester, and a women’s raglan quilted jacket read almost blanket-like. They give the effect that you’ve grabbed whatever textiles were closest in an effort to get warm. This isn’t a collection you buy one piece from; the garments look best layered on top of each other to create a whole effect. Bon Voyage. -Vogue

One of the looks he was furiously working on, viewed courtesy of a 360-degree spin around via his iPhone, is a Breton marinière which has been turned into a dress and then hand-embroidered to ripple 3D-style with hundreds of faux coral fronds. The sailor stripes are pure Gaultier, yet the twists to this dress—the folded-over shoulder line, the knit panel which sinuously and unexpectedly juts out from the left hip—are pure Martens at Y/Project. (The designer, as you likely know, is also currently kicking it out of the park at Diesel.) -Vogue

That’s what makes Martens’s version of Gaultier couture fly: the acknowledgement that it can’t be a retread of the past glories of one of fashion’s greatest designers, but instead honor what went before and incorporate the best of yourself. It is not C as in collaboration ( a word which is looking increasingly passé) but C as in conversation, a constant state of respectfully going back and forth between incoming designer and the heritage of the house. (Martens revealed that at the time of speaking, Monsieur Gaultier had seen nothing, and would first do so at the show.) -Vogue

The galactic sci-fi set Kim Jones had erected for his show inside La Bourse felt entirely apt. His haute couture for Fendi always seems like a flight of fancy: fabricated for the thrill of it, for the fun of it, and the extravagance. Sitting under a black globe and suspended fragments of Roman arches—smoke and radiance in the air—watching one lavish evening gown after the other glide through his spaceship, you could as well have found yourself inside a Marvel film, or watching one at the cinema. -Vogue

Space, astrology, and heaven have been themes in this season’s couture and men’s collections. No doubt mildly inspired by last year’s billionaire space race, they mainly represent the great escape. The pandemic’s part in that scenario is pocket psychology. Jones, who said he had been re-reading Dune and a book on Star Wars by George Lucas, approached the theme with a Hollywood zest that recalled a number of sci-fi films centered around the age-old conversation between the ancient and the futuristic. -Vogue

Jewelry by Delfina Delettrez—the daughter of Silvia Venturini Fendi—was a small but shining star of the show. Executed in natural crystal geodes and amethyst, her spiky black ear cuffs had an aggressive glamour about them that broke with the spacey romanticism of it all. Packed with emotion, her pieces made you consider how the hell she’d made them and what inspired that kind of expression. You wonder if she could adapt her vision to surface decoration, too. -Vogue

As a native New Yorker, Dao-Yi Chow has dabbled in sports his entire life. He has reminisced about his basketball days at Public School and his tennis passion while working with Sergio Tacchini, and is an avid runner in his personal life. Football was never among his top three sports—which makes sense, as New York football teams play in New Jersey. So when Andrew Rosen, whom Chow calls a mentor, and Jens Grede, approached him about a new performance and lifestyle brand they were starting, called Brady, he thought, “Brady? That’s such an interesting name for a brand.” -Vogue

Chow approached the legacy of one of the winningest quarterbacks in the NFL—and one of the most successful athletes in any sport—from a standpoint squarely rooted outside of fandom. “There’s New England Brady, Tampa Brady, but the brand is really beyond that,” Chow says. “We wanted to create a system of clothing that blends performance and lifestyle, inspired most by his approach to the game.” -Vogue

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