PFW – LFW:
A/W 2024.25 collections
Ecco cosa abbiamo notato sulle passerelle
Call it ‘everyday’ or ‘today’. There are many ways of putting it but they all mean the same thing: being in the ‘here and now’, in the present moment, navigating by sight, which is the only thing we can, more or less, afford. In the current times, the present is the one thing we can be certain of, the day ahead of us, one step at a time towards the evening, until the next day comes. Perhaps it is no wonder that various collections do not make their customary separation between daywear and eveningwear, but instead let one merge into the other. Without questioning it too much, the fashion industry has understood that this is the way things are going. That what counts is being comfortable in your clothes, or that you can be cool and sexy in relaxed casual wear, because the key to everything is attitude, that ‘je ne sais quoi’ that French women know so well.
So, the Day-to-Day trend opens up to clothing that teams classic and sportswear, often by layering up soft lines and at times oversize volumes. With a touch of formal menswear as well. Futuristic Aesthetic which has nevertheless established itself as a trend, can be interpreted in the same way: living in the present helps us prepare for the future. It is not about philosophising but instead partly exorcising and partly learning to adjust, to master the means at our disposal in order to put them to good use later on. The shows stayed away from alien or other-worldly looks, instead sticking to more realistic and manageable pieces: metallic sheen, glossy or iridescent effects, sharp lines, alongside oversize, cosy volumes. If our final trend could be a movie, it would be called Liberty West after its intrepid and slightly wild heroine, a bohemian cowgirl dressed in ruches and fringes, capes and cloaks, denim (or leather) and big boots. Yes, it is a movie we have seen before but we do not mind seeing it again, because it makes us nostalgic about a time, i.e. the ’70s or ’80s, when there was real hope for the future. A mixture of classic elegance and revolutionary spirit, an easy and understated wardrobe which, in the end, is what we need nowadays.
Day-to-Day
Learning to be in the present, in the here and now, is also about knowing how to live day-to-day. It might seem easy but it is not. It is like having a never-ending staircase ahead of you but deciding to focus on each individual step, whatever happens as you go. And staying on that step, at least for a little while.
JW Anderson does this with a collection that explores grandparents, not in a nostalgic way but as a way of life that imposes all-round awareness and normality, including in our way of dressing. Knitwear is a big feature, hand-knitted and/or layered around the body, and underwear is worn as a twin-set with an oversize polo shirt and outerwear.
The everyday is precious for Carven. With no distinction between day and evening, the wardrobe teams classic and practicality, formal and sportswear, with gym tops teamed with panelled mid-length skirts and long gloves, oversize blazers and coats with leggings and slipper-ballet flats, blouses worn backwards and pillow-bags. Is it good-day or goodnight?
Dries Van Noten showcases the poetic side of everyday life in all its extraordinariness; no drudgery or boredom here, instead, a hint of all-new colour or an eye-catching detail. There are destructured sporty sweatshirts, coats and jackets with contrasting sleeves, inside-out shirts, and sparkling maxi sweaters. And hues resembling a painter’s palette.
If even Julien Dossena for Rabanne is choosing everyday looks instead of his usual sparkling outfits, the trend has got to be strong; there is plenty of his customary layering but it is used in casual, wearable and rather oversize pieces. Men’s shirts with a crew neck sweater and/or comfortable blazer, jackets tied around the waist, loose trousers, loose long skirts and boots.
Undercover’s show notes describe the typical day of a young woman, from the moment she wakes up to when she goes to bed. Comfortable layering, alongside a play of colours and textures, is the main feature here. Tracksuit-outfits with contrasting insets, comfortable jeans, bomber jackets layered over trenches and faux-fur coats, accompanied by shopping bags and yoga mats.
Futuristic Aesthetic
Some still believe the future will be better than the present and so they try to bring it forward; perhaps, who knows, this is a superstitious exercise, exorcising an uncertain tomorrow by transferring it to the here and now.
Acne Studios does this by showcasing a sculptural army of proud and powerful women, in which leather, inspired by saddles, forms a glossy protective shell around the body, shot through with zips resembling surgical cuts. Other pieces are also cosy and protective: knitwear with high collars and hoods, cocoon fur, long dresses fit for a goddess of the galaxy.
Less covered up but still ice-cool, Coperni’s creatures wear bodysuit-jackets that resemble mini spacesuits, knits with extra-long sleeves, and stellar office outfits. Accessories also join in on the concept: like the ‘air swipe bag’, made from 99% air and 1% glass and created with aerogel, a material used by NASA. An object already being fetishised.
Courrèges has the future in its DNA, but here it teams precise, minimal lines, elongated silhouettes and Sixties touches with a new intimacy and contact with the body. Trenches, dresses and trousers have a front pocket that suggests a sensual and unmistakable gesture, a cheeky detail added to cut-outs, deconstructions and visible underwear.
‘Galaxy Beyond’ is the title of Mark Fast’s collection inspired by the work of Joe Colombo, the Italian architect known for his ‘future-worthy’ style. Knitwear, ça va sans dire, always takes centre stage, this time paired with ergonomic jackets and oversize coats, while footwear includes painted boots or studded pirate boots.
The future is already here at Louis Vuitton, with Nicolas Ghesquière celebrating 10 years at the helm of the brand. Often dipping into science fiction for his collections, he does so again, with sculptural stiff-shouldered garments, iridescent surfaces, shiny zips, reflective discs, big furry gloves, and colours ranging from stellar silver to optical white to gold. He also pays homage to past collections, but in a way that takes away none of the charm and freshness of forward-looking fashion.
Liberty West
Liberty above all else. The freedom to live, love and be a woman. An idea of femininity that harks back to the light, floaty vibe of the ’70s, alongside a hint of cowgirl style, also linked to hippie and folk subcultures. One shared element throughout was fringes.
That’s right, free, sensual and powerful, is the Chloé woman, who has returned, thanks to the new creative director Chemena Kamali, to the essence of the brand, that of the founder. Fluidity and movement form the core of every look, aided by long, loose, fluid dresses packed with ruches, big boots and fringes on leather jackets and trousers.
Gauchos provide the inspiration for Isabel Marant, which the brand teams with a late-70s, early-80s aesthetic of fluid dresses worn with wide belts, gilets, suede jackets and fringed ankle boots. A sense of restless freedom, a warm and appealing colour palette, shawls and cloaks to wrap up in. It is easy to image wild, wide-open spaces.
Echoing its own ‘western’ collection from a few winters ago, Stella McCartney adds an ecologist motto to this show: ‘it’s about fucking time’, this is a climate emergency. It appears on a white vest worn with Texan jeans complete with studs on the vegan leather layer, echoing the urgency of the message. A number of the studded dresses come in the same leather, while fringes decorate jackets and bags.
An American style spanning Priscilla Presley, the rodeo world and the 70s; Elie Saab reworks stars and stripes classics with a touch of elegant femininity, celebrating a vertical, fluid silhouette with long dancing fringes, Paisley embroidery and big floral appliqués. Predominantly midi-length dresses and skirts are worn over Texan boots with a chunky heel.
The ‘western’ aesthetic is even seen at Schiaparelli, where it is the details that define the cowboy aesthetic: shirts, under comfortable masculine suits, are fastened with a hair braid-tie resembling horses’ manes and tails, wide belts feature big buckles, while gold-tipped Texan boots peek out from under loose trousers. This is a less floaty kind of femininity, but it is still powerful and free.
