Latest news with #runwayshow
New York Times
01-07-2025
- Entertainment
- New York Times
Dolls vs. Real Girls at Marc Jacobs
As is his custom, Mr. Jacobs ran a tight ship for his runway show Monday evening at the New York Public Library. Doors closed, guests settled in hushed expectation, and at 7:30 sharp the first model emerged in a lavender lace top with protrusive sleeves that fanned out around her like the petals of an Imperial poppy. Over the course of five minutes, another 18 looks followed, each more elaborate than the next. Mr. Jacobs titled the show 'Beauty' and, as always, offered only the barest-boned notes. One gets the sense that, like an artist, Mr. Jacobs is as interested in what the audience sees in his work as anything he may have intended. He provides the dream, we are left to do the interpretation. For several seasons now, Mr. Jacobs has been toying with proportions, often distorting historical fashion designs past the point of recognition. The two-dimensionality he explored in his fall 2024 collection, where models looked almost like paper dolls wearing flat dresses that hung from their frames, has now swollen into a bricolage of shapes and textures. The dolls had bulged into unruly, decidedly three-dimensional women. Take Look 3, an astonishing top made to resemble a bra with cleavage and a fleshy stomach spilling out. The sumptuous, built-in muffin top and fake-abundant bosom worn by a waif seemed to spit in the eye of Ozempic culture — like a black mirror version of the corset couture most recently canonized at the Sánchez-Bezos wedding. Want all of The Times? Subscribe.
The National
30-06-2025
- Entertainment
- The National
Men's fashion week highlights: From Jonathan Anderson's debut at Dior to Qasimi's deeply personal show
From relaxed elegance at Prada to Indian influences at Louis Vuitton and the UAE's own Qasimi honouring its founder's legacy with thoughtful, culturally rooted design, we round up the best from the recent men's runway shows in Paris and Milan. Prada At the Deposito at Fondazione Prada in Milan, Miuccia Prada and Raf Simons unveiled a collection that marked a clear shift in attitude. Titled A Change of Tone, the show dismantled traditional power dressing, offering a playful, non-conformist take on men's style. The mood was direct yet versatile, celebrating freedom through unexpected pairings. Silhouettes were relaxed, with smart tailoring layered over casual sportswear – think coats over tracksuits or suits eased with sporty zip-ups. Simple cotton trousers paired with crisp white shirts added to the understated charm. Juxtaposed fabrics and textures created depth, while accessories such as pointed rattan hats and subtle jewellery provided finishing touches. Colour was key – primary tones clashed gently with neutrals, gradually softening into pastels paired with navy, brown and grey. Stripes hinted at nautical nostalgia, while utility elements reinforced practicality. Footwear and bags kept things grounded – flip-flops, moccasins, canvas lace-ups, gym bags and backpacks underscored the collection's approachable, laid-back elegance, inviting men to rethink modern dressing. Giorgio Armani For the first time in his remarkable career, Giorgio Armani, 90, was absent from his Milan Fashion Week show, recuperating at home from an undisclosed illness. Yet, his presence was felt in a collection that embodied the relaxed sophistication and timeless elegance synonymous with his house. The runway featured pairs of models (male and female), styled in harmonised looks that subtly blurred gender lines. Soft tailoring, layered knits and airy fabrics created silhouettes that flowed gently, offering lightness and ease. Wide-leg trousers, supple leather, silks and fine cottons underscored the collection's fluid charm. Influences of city and seaside, East and West, combined seamlessly. Subtle checks, abstract sketches and watercolour prints added depth. The palette balanced soft greys with purples and blues, cream with gold and warm desert tones with aquamarine. Suits worn with flip-flops reflected effortless transitions between business and leisure. Accessories echoed the laid-back charm – knotted belts, raffia caps and large fabric bags. Closing the show, Leo Dell'Orco, Armani's trusted head of menswear, paid tribute to a designer whose vision continues to define understated luxury. Qasimi Marking its 10th anniversary, Qasimi debuted its spring/summer 2026 collection in Milan with a deeply reflective presentation. The London-based label, founded by the late Sheikh Khalid Al Qasimi and now helmed by his twin sister Sheikha Hoor Al Qasimi, continues to embody a rich dialogue between its UAE heritage and its base in the UK. The collection explored this dual identity, offering garments that speak to cross-cultural exchange and shared histories. Staying true to the brand's core, the collection was defined by clean lines, oversized silhouettes and a palette of neutral and sandy tones. Long tops and jackets layered over wide trousers created fluid, effortless shapes. Utility-inspired details, including abundant pockets, pleats and zips offered functionality and versatility. Memory nylon – a fabric that records creases that gradually fade – became a striking symbol of lived experience, once again nodding to the very personal influences on this collection. Blazers with zip detailing and multi-functional pieces echoed the balance between smart and casual dressing, while a collaboration with Lebanese artist Dala Nasser added further depth, with raw edges, loose threads and doodle-like embroidery evoking traces of place and memory. The collection felt like a wearable reflection of legacy, adaptability and modern Arab identity. Dior Jonathan Anderson's highly anticipated debut for Dior marked a bold new chapter, as he reinterpreted the house's codes with imaginative flair for the men's spring/summer 2026 collection. Anderson approached the collection as a modern fairytale – romantic yet informed. Capes, tailored waistcoats and Bar jackets with nipped-in waists paid homage to Dior's storied past, while denim shorts, relaxed socks and sandals added a casual, youthful twist. Cable knits and long coats echoed the house's womenswear signatures, blending tradition with fresh energy. There was a sense of dressing up to become a character, with ties, bow ties and 18th and 19th-century-inspired waistcoats anchoring the narrative. Anderson's own design language overlapped subtly with Dior's, creating a dialogue between aristocratic elegance and modern spontaneity. The colour palette spanned soft neutrals to vibrant greens, pinks and blues. Thoughtful details – rococo-inspired Diorette charms, delicate rose embroideries and playful tailoring – ensured Monsieur Dior's romantic spirit remained central, as Anderson recoded the house's language with informed creativity. Louis Vuitton Presented at Paris's Centre Pompidou on a striking show space by Bijoy Jain of Studio Mumbai - a life-size tribute to the ancient Indian board game Snakes and Ladders - Louis Vuitton's spring/summer 2026 menswear was a tribute to modern Indian sartorialism, explored through the Louis Vuitton lens. With an offering that felt more grown-up than recent seasons, Pharrell Williams delivered smarter dressing without losing the edgy twist that has defined his tenure so far. The collection blended rich material, colours, and craftsmanship rooted in Indian culture. Tailoring took centre stage, with L.V.M monograms adorning blazers that hinted at a more serious, elevated take on suiting. The palette - navy, brown, burgundy, khaki, pink - drew inspiration from Indian landscapes and vibrant sunsets. Denim, cable knits, pyjama stripes, and polo shirts combined preppy and street style. Shell jackets, fleece blousons, and hiking boots nod to Indian mountaineering culture, elevated with heritage patterns, hand-embroidered stones, micro-beads, and lace. The Darjeeling Limited motif, which was created by Louis Vuitton for the film of the same name in 2007, was included in a collection for the first time, presented on garments and bags, merging travel, cinema, and craftsmanship.
Washington Post
23-06-2025
- Entertainment
- Washington Post
Giorgio Armani misses Milan Fashion Week for the first time in 50 years, but his designs shine
MILAN — Giorgio Armani's menswear collection for the next warm weather season encoded the geography of summer in textures, geometrical designs and his signature relaxed silhouettes. The 90-year-old designer skipped the runway preview show closing Milan Fashion Week on Monday to recover from an undisclosed condition, but his fashion house said he kept a hand in the designs and watched the runway show on live stream.
Bloomberg
20-06-2025
- Entertainment
- Bloomberg
Giorgio Armani to Miss Runway Shows as He's ‘Recovering' at Home
Italian fashion designer Giorgio Armani will miss the brand's next two runway shows because he is 'currently recovering' at home, his eponymous company said in a statement on Friday. The 90-year-old, who worked on the collections for the fashion shows, will follow the events remotely, the company said, without elaborating on the reason for his convalescence.
Vogue
20-06-2025
- Entertainment
- Vogue
The Second Phase of the Grand Palais's Reopening Is Complete—Here's What You Can Expect
When Chanel returned to the Grand Palais for its runway show last October, there was the collective feeling that the house had come home after four years displaced. But the re-opening of the building's soaring, glass-ceilinged nave, timed to the Summer Olympic and Paralympic Games, marked only the first of two major phases of the Grand Palais's monumental restoration. As of this week, the second phase is complete enough that visitors will now arrive via the main entrance on the refurbished Square Jean Perrin, where allegorical statues adorning a fountain are gleaming white. Once inside, they will behold the splendor of the building—both its original architecture and reimagined spaces—like never before. Led by Chatillon Architectes, the project is particularly remarkable for the fact that it involved no additional building. Yet there is a vast amount of new, usable space—or, at least, space that the public is able to experience for the first time. Beyond the entrance is a 3,000-square-meter area where people can wander freely (and for free)—one that has not existed since the building was divided into three sections in 1937. Here, luminous panels running the length of the ceiling create an almost futuristic feel amidst the circa-1900 riveted steel beams painted reseda green, a shade as signature to the Grand Palais as orange is to Hermès. There is a cafeteria on the mezzanine, a modular boutique, and seating staggered throughout—all of the fixtures and furniture realized by L'Atelier Senzu, known for its ecological approach to design. The main attraction, however, is a view of the nave through three floor-to-ceiling windows. It is framed by an enormous curtain of nine suspended panels in gradient green, conceived under the direction of Studio MTX (one of the 12 houses within Chanel's artisanal network, Le19M) with additional decorative elements from six other ateliers. Conveniently and cleverly, the curtain will remain closed when Chanel is preparing for its shows. The Grand Palais was onceived by a collective of architects—Henri Deglane, Louis-Albert Louvet, Albert-Félix-Théophile Thomas, and Charles Giraud—as a stage for French patrimony and culture when Paris hosted the Universal Exhibition in 1900. It also encompassed the Palais d'Antin, which later became the Palais de la découverte, a kind of science discovery museum that remained open, albeit tired, until the renovations began in 2021.
