London Fashion Week couldn’t have ended with a bigger bang than Mowalola’s spectacular show, Dirty Diop. Buckle up because nothing could’ve prepared us for the creative chaos, electrifying energy, and jaw-dropping fashion moments that took place on that runway.

Voir was right in the thick of it, and we’re bringing you the spark that had the audience on fire.

Welcome to MOWA WORLD

Nigerian designer Mowalola Ogunlesi turned up the heat with her bold, unapologetic collection that defied the limits of what fashion can be. Bigger and wilder than ever, this show felt less like a presentation and more like a fever dream of edgy, rebellious, and liberated expression.

As our editor Jyoti Matoo said,

“You know you’re invited to something big, but nothing prepares you for the madness and genius you’re about to witness. You walk into a hangar, and the energy slaps you in the face. Just what, just wow.”

A Show on Fire

The atmosphere? Unmatched. Mowalola took us to an underground rave, a private night of mayhem. The set, designed by Tor Studio, featured a customized neon-lit cage, an electric bed, and an all-encompassing vibe that screamed unapologetic fashion rebellion.

Models strutted, danced, and checked themselves out in bathroom mirrors, while electro-rock guitar riffs flooded the space, thanks to Foushee and her electric guitar performance.

The star-studded lineup? Unforgettable. With icons like Irina Shayk, Yves Tumor (aka Sean Lee Bowie), and Crystalmess, gracing the runway, each brought their own edge to Mowalola’s unhinged universe.

Irina Shayk, who opened the previous show, this time closed the curtain with an aura that left us in awe.

The Performance of Fashion

It wasn’t just a fashion show—it was a performance. Mowalola herself took to the runway alongside Detoblack and Chi, turning the show into a real-time, multimedia art piece.

Belen Mar Leroux also gave us a fierce performance, crawling on all fours with an iconic head toss, adding to the wild energy of the event.

Beauty That Commanded Attention

The makeup was a work of art in itself, led by the legendary Isamaya Ffrench. Think: doe eyes with exaggerated lashes, sharp contours, and accentuated dark circles that gave each model an almost alien-like ethereal glow. It was raw, unapologetic, and totally in sync with the collection’s boldness. It wasn’t just makeup—it was a statement.

Details that Set the Stage on Fire

What truly made this collection iconic was the attention to detail. From the metal thongs that felt both avant-garde and daring to red ensembles and tights that dominated the collection, each piece brought something fresh to the table, giving to the show, a raw, sensual aesthetic.

Innovative fashion moments were abundant: animal prints, latex nearly everywhere, mini skirts paired with custom masks emblazoned with “Mowalola,” oversized bags that read “Ebony,” and bold, structured vests. The 3D makeup work by TildaX further enhanced the futuristic, boundary-pushing look.

A priceless fashion mood board universe, Mowalola dives us deep into her world, where fashion is performance, art, and rebellion.

Words By Noa Balou

The post Voir Fashion – Mowalola A Fiery Explosion: Mowalola’s Electrifying Finale at LFW appeared first on Voir Fashion.

Meaning ‘the vacation’ in Italian, the collection was confirmed last October and debuted on the 23rd of May. The exclusive show took place at a villa in the hills of Cannes, with the models walking along a runway submerged in an infinity pool. Audience members sat on ornate coffee tables overlooking the well-manicured gardens and ocean of the French Riviera. 

https://www.instagram.com/p/CsoY8h2tM28/?igshid=MzRlODBiNWFlZA%3D%3D

There were many famous faces at the event, with Rosie Huntington-Whitely and Simone Ashley in the audience, while Lila Moss, Irina Shayk, and Iris Law walked, styled with voluminous hair and 90s makeup. 

The pieces took a lot of inspiration from the past, with Dua telling French Vogue “it was a combination of things we’ve worked on over time: performances, red carpet, influences from the archive, and modern Versace”. Metallic mini skirts, butterfly prints, and polka dots all pay tribute to 90s Versace, while the pastel blue and pink tailored suits and terry towelling may have drawn inspiration from Dua’s upcoming Barbie movie. Yes, fashion design isn’t the only new hobby Dua Lipa has dabbled in recently, starring as a mermaid in the upcoming Barbie movie this July as well as writing a song for the soundtrack. 

When designing the collection, Dua would sketch ideas and send them to Donatella for approval. Her fresh take on designing was appreciated, as was her perspective on how the clothes fit, considering practicality when performing as opposed to just walking the catwalk. 

Dua Lipa has been a Versace ambassador since 2021, frequently appearing in campaigns and even opening and closing shows. She can be spotted on the front row or red carpet, often in custom or vintage Versace. At the collection’s preview in Cannes, Dua revealed that the initial idea to collaborate had come about on a night out together in NYC. She has a close friendship with Donatella, and their relationship began in 2018 when Dua wore a look from Versace’s spring collection for her performance at the Brit Awards. Other iconic Dua x Versace moments include the custom glitter dress for her Levitating music video, the bright bow dress for the 2019 Met Gala, and the vintage AW92 gown for the Grammys. 

While the idea of a celebrity ambassador or muse is a longstanding practise, more and more brands are utilising celebrities, especially pop stars, as co-designers. Beyoncé’s album-inspired couture collection with Balmain dropped earlier this year, while Pharrell Williams’ highly anticipated Louis Vuitton collection will show at Men’s Fashion Week in Paris. We can’t wait to see more of our favourite celebs creating art with our favourite designers! 

_{Written By Lucy Walshe}

_{^{Header Image By Mia Washbrook}}

The post Inside Dua Lipa And Versace’s La Vacanza Collection appeared first on Voir Fashion.

Perhaps the most surprising thing so far has been the important role that animals have played in the collections. The animal kingdom appears to have inspired designers across the board for NYFW, from zoomorphic models to butterfly wing prints. So, without further ado, here is our rundown of everything you need to know about New York Fashion Week so far.

Collina Strada

We may have already seen hyper-realistic animal outfits take to the catwalk this year with Schiaparelli’s taxidermy-inspired looks causing quite the stir at Paris Fashion Week last month. However, Collina Strada’s zoomorphic collection could not have been more different. Collina Strada’s enthusiasm for environmentalism has been clear for a very long time, but their latest ‘Please Don’t Eat My Friends’ Campaign solidified this position even further. In AW21, creative director Hillary Taymour explored the “Animorphs” theme digitally where looks were paralleled with correlating animal images. The AW23 collection, however, took this motif to a new level where the models now physically morphed into animals using incredibly detailed facial prosthetics.

The collection was another of Collina Strada’s sustainable ranges and followed some of their trademark styling decisions including extreme layering of sheer or lace pieces, oversized silhouettes that skimmed the body, and the pairing of dresses and trousers in the same look. The show also featured Collina Strada’s recent collaboration with Vans, a vibrant and playful collection that brings childhood nostalgia to your adult wardrobe.

^{Photo Credit: Courtesy of Collina Strada}

Anna Sui 

Anna Sui’s ‘Heaven Can Wait’ show was not only intimate in terms of size, with only about 80 guests in the Peppermint Lounge, but also in its designs. Channelling inspiration from the 90s and 2000s; the slip dress was at the core of this collection. Anna Sui shared on Instagram “I wanted little dresses to dance in. Slip dresses in satin or chiffon with lingerie lace trim plus beautiful blouses and jackets with the same treatment.” This tied the intimacy of dressing to the intimacy of the bar and, of course, to New York City nightlife. 

The collection explored the looks of the 90s and 2000s in a youthful way that was inspired by nightlife. The models took to a small stage and danced in front of the crowd of onlookers before treating the bar as their catwalk. The collection was not only reminiscent in the sense that the looks took inspiration from the 90s, 2000s and even 60s but also because Anna Sui brought back items from her earlier collections for this show. To celebrate the Chinese Zodiac Year of the Rabbit, Sui brought back her bunny ear hats from her 1998 collection as well as crochet hats from 1993. 

Dion Lee 

Skin is often a focus of Dion Lee’s work, usually playing with the binary between what is and isn’t on show. However, this collection took a slightly different look at the concept of skin, focusing instead on the skin shedding experienced by reptiles. The collection featured an array of looks inspired by reptilian scales including snake and crocodile prints but also the warping of other materials and incorporation of Dion Lee’s trademark cut-outs in order to create textures reminiscent of a reptile. 

The play on the notion of skin continued beyond the prints at hand as Lee focused heavily on silhouettes and textures in order to depict the moment of skin being shed. This included a variety of distressed materials, including wool and denim, as well as a focus on outerwear, all playing into the idea of layering and a ‘second skin’.

_{^{Photo Credit: Courtesy of Dion Lee}}

Heron Preston 

Heron Preston just made a monumental New York Fashion Week debut. The San Franciscan designer usually showcases his collections at Paris Fashion Week and so treated this debut as a fashion homecoming, paying homage to the city that Preston has called home for the past 15 years. The show opened with a group of individuals wearing utility-inspired vests, in Heron’s trademark vibrant orange, spray-painting the concrete floor with directions that the models would later follow. This set the scene for a collection that was sure to celebrate city-life by painting a literal street for the streetwear collection to make its debut.  

As a designer that predominantly champions streetwear influences, the show was full of utilitarian-inspired looks, however, they did not come without that New York fashion-scene flair. Utility jackets were cropped and paired with skirts over trousers or sheer bodysuits, leather jackets were paired with chainmail hoods, and tracksuits were paired with furry boots. This combined the fun of New York City fashion with streetwear basics, in a perfect love letter to the city and community that was being honoured. 

Prabal Gurung 

Prabal Gurung’s ‘Anichya’ (Impermanence) collection continued the nature-inspired theme that we have been seeing throughout New York Fashion week so far as it celebrated metamorphosis through a butterfly wing motif. The pattern was central to the collection, appearing not only on several of the opening looks from the show but also as the background for promotional images posted on Instagram.  

As the show went on the print itself undertook a metamorphosis as the pattern became less prominent and instead intricately appliqued organza took centre stage. However, even as the butterfly wing pattern faded out of the collection, its inspiration remained clear. Instead, the flowing silks and sheer dresses mimicked the nature of the butterfly wings and we are reminded of the theme of impermanence as we are thrust between the juxtaposition of light and dark, of the delicate and the durable. 

^{Photo Credit: Courtesy of Prabal Gurung}

Words By Amelia Gregory

_{Header Image: Heron Preston, Dion Lee, Prabal Gurung}

The post An Animalistic Start to New York Fashion Week appeared first on Voir Fashion.

Following the death of the Queen, various runway shows, and events were cancelled in London Fashion Week S/S 2023 due to national morning restrictions. As such, many designers and labels have chosen to reschedule their much anticipated défilé to Frieze week, which features a number of shows, events, and happenings (imagine it as a sort of fashion week mark five situation). The British Fashion Council’s big-ticket events, which are officially dubbed “Celebrating London Fashion Week,” include runway presentations by Alexander McQueen, Roksanda, and Raf Simons—the latter two of whom were originally scheduled to appear on the official London Fashion Week schedule last month.

Roksanda Ilincic

Roksanda Ilincic’s bold sculptural garments were displayed in Hyde Park’s Serpentine Gallery. In showing a collection during Frieze week, Roksanda Ilincic feels natural; she has had strong ties to the art world throughout her career, both as a collector and as a collaborator (last season, she collaborated with Eva Rothschild on the show’s geometrically coloured set).

An ode to art seemed to be the theme of this show, from inspiring the vivid outfits to the setting of the show. Roksanda displayed her collection inside Theaster Gates’ ‘Black Chapel’, an art installation, that was unveiled earlier this year. The Black Chapel is known as a place of contemplation and conviviality, a perfect setting for Roksanda’s own journey – choosing this location was a conscious decision by Ilincic because it invoked the unexpected yet meaningful emotions of death.

The collection featured voluminous, cascading gowns with 3D details that resembled abstract roses blooming, the silhouettes included exaggerated sleeves and flowing dresses that moved swiftly as the model strutted on the catwalk. It’s almost like each model served as a canvas with a variety of artistic techniques being incorporated into this collection. From swirling patterns that looked like diaphanous paintings on satin and silk to garments with black and yellow abstract lines that hinted at oriental influences.

There was an emphasis on showcasing Roksanda’s diversity with tailored pantsuits, swaggering full-length coats, and slim draped dresses among the show-stopping garments of this collection. 

^{Images Courtesy of Roksanda}

Alexander McQueen

As Sarah Burton unveiled her new collection for Alexander McQueen on the banks of the Thames, Greenwich, under a huge plastic bubble dome.

With images of Dutch artist Hieronymus Bosch woven into her body-conscious and sleek tailored collection, Burton paid homage to the late designer she worked with for years. McQueen apparently enjoyed Bosch’s restlessly imaginative works, which often depicted religious scenes and flourishing natural worlds teeming with human violence.

This is not the first time that the artist has served as a muse for the house of Alexander McQueen. In McQueen’s ‘Angels & Demons’ collection for Autumn-Winter 2010-11, paintings from the late 15th and early 16th centuries were woven into the designs- the collection was the final one designed by McQueen himself.

Burton, however, took a different approach this time. Hers was a vibrant, collaged print used for cut-out catsuits, a bodysuit with a half skirt attached, and a sculptural, strapless gown. The way that she approached the silhouettes was also different from previously seen collections, she says “it’s always about a woman dressing for a woman. It’s not a male gaze.”

It was titled ‘First Sight’, and it was centred on the concept of ‘searching for humanity’. Burton recalls the collection to be “a symbol of that humanity, a register of emotion, an expression– the human eye”. The motif of the human eye recurred throughout the collection, whether it was embroidered in shimmering sequins or crystals across a catsuit.

The collection was laden with seductive outfits. The gowns featured cut-outs that revealed whole legs, jackets with backless or slashed inlets that revealed pelvic muscles, and ultra-low-rise trousers played off of McQueen’s original ‘bumster’ designs (the extremely low-rise trousers, first shown for SS94).

Burton also aimed to empower wearers with clothes that were stripped back, dissected and focused on cut, drape, and silhouette, bringing together sliced-away tailoring and low-waist trousers – the show was reaping with influences from Lee McQueen’s previous shows and also made homage to the designers structured denim two-sets and armour-like leather bustiers.

Adding a final touch to the show was an evocation of Hieronymus Bosch’s works.

^{Images Courtesy of Alexander McQueen}

Raf Simons

The Raf Simons fashion/rave party experience finally arrived in London.

The designer presented both his Spring/Summer 2023 collection at London’s Printworks nightclub and continued the night with a built-in afterparty during Frieze, the art fair Simons is actually a patron of.

For SS23, Raf Simons presented an edgy and sensual collection fit for a night at Printworks. “I think it’s actually the barest, most minimal collection I’ve ever done,” the designer said in an ES interview.

The collection may have been minimal, but the atmosphere was quite the opposite. The nightclub, an old newspaper printing factory that had been transformed into a bar, had almost 1,000 people crammed inside.

There were rows of guests seated on the elevated stage, close enough to see every detail of Simons’ fabrics. This collection brought back memories of McQueen’s FW97 collection “It’s a Jungle Out There,” which saw people sit or stand on the floor of a warehouse, a ‘ravey’ and nostalgic experience.

The collection itself was one of Simons’ most diverse to date. Under the ambient lighting of a techno nightclub, the SS23 collection mixed rave influences with ’80s punk references and subverted tailoring.

Hot pants and polka dot prints adorned the arms and legs of the co-ed collection, along with neon hues and skin-tight leggings. Additionally, some Berghain leather influences were evident in the runway boots, while the belted playsuits and technical details accentuated the submissive sense of design that he learned from Prada.

In a preppy trend, we saw tiny knitted tops transform into romper suits. Bringing back the underground elements were fishnets (used in over-the-shoulder bags and skimpy tops) and leather oversized biker jackets that reflected punk and glam rock styles.

The collection continued to surprise the audience, as shorts were pleated on the side to reveal slits filled with contrasting fabrics. A sense of innocence was once again provided by tanks made from thin, raw-edged cotton, while now-signature details like the skeleton cuff or bold use of alpaca wool added more punk undertones.

_{Images Courtesy of Raf Simons}

Words By Chanelle Jassim

^{Graphics By Arundhati Das}

The post This Week Was LFW’s Final Return In 2022 appeared first on Voir Fashion.

Today, in memoriam of the great Issey Miyake, we look back at his life and legacy; the beauty and joy he bought to so many around him.

Issey Miyake 1994

In 1993, Issey Miyake released his iconic line ‘Pleats Please’. One of his most innovative moments, this line was created with a patented process by the name of ‘garment pleating’ wherein the clothes were pleated instead of the textiles. This allowed for fun, origami-like designs that allowed and even encouraged movement. The above photo shot by Irving Penn for Miyake’s 1994 spring/summer collection shows this vivacious and fluid spirit.

Grace Jones

Sometime in the 70s, when Japanese fashion designers were having a heyday, Club kid Grace jones and Issey Miyake met and thus was born a prolific, artistic relationship. She became his muse, regularly sporting his visionary designs and walking in shows for him such as ‘12 Black Women’ in 1976. She credits him with boosting her career and introducing her to kabuki stances, allowing her to exude power with little movement – the quintessential Jones look.

Steve Jobs

Not many people might know this, but the man behind Steve Jobs’ iconic black turtleneck is actually Miyake. Jobs and Miyake were close friends and Miyake created ‘hundreds’ of sets of the top for him, officially retiring them in 2011 when he passed. Here, pictured in Palo Alto in 2005, Steve Job’s wearing his classic mock black turtleneck, Levis and New balance kicks, something he wore almost religiously.

Issey Miyake 1999

The above piece is from the finale of his 1999 spring/summer women’s collection called ‘Le Feu’. APOC, otherwise known as ‘A Piece Of Cloth’, was the simple basis for this piece that went on to be both a complete piece of clothing as well as just fabric. The beauty and boldness behind this look, as well as the level of design that went into it, is archetypal Miyake and shows he goes far beyond the realm of fashion designer and well into the realm of artist and innovator. He himself claimed he was ‘not a fashion designer’.

Mary-Kate Olsen

Miyake’s designs are loved by a wide variety of people and it’s undeniable his designs touched many. Here, we have Mary-Kate Olsen stepping out in a chic Miyake Gown for the 2013 CFDA Awards. This piece really shows the diversity of his capabilities, he could make fun, unorthodox, bright designs and just as well make a classic black gown.

Issey Miyake 2020

Issey Miyake officially retired in 1997, but his designs and brand have continued to be a prolific part of fashion. The above video shows, in classic Miyake style, the beauty and joy he set out to give embodied in free-flowing and geometric pieces. The brain behind the SS20 show was Satoshi Kondo, who embodied Miyake style perfectly, and we look forward to what else the Issey Miyake brand shall henceforth create.

It is certainly a tragic day for fashion; however, Miyake’s legacy has lived on and will continue to do so. In fact, I defy you to find me one east London fashion girly not reeling from the loss in a pleats please skirt today.

Words By Giuliana Zamudio-Lopez

^{Header Image: Issey Miyake}

The post The Life & Legacy Of Issey Miyake appeared first on Voir Fashion.

Georges Hobeika

Lebanese designer Georges Hobeika returned to the runway this week as he unveiled his Fall/Winter 2023 collection during Paris Haute Couture Week. This is Hobeika’s first show with his son Jad Hobeika, who was recently named the co-creative director of the celebrity-loved brand. The father and-son duo’s newest release featured glamorous gowns with metallic feathers, ornate embroidery, dynamic cuts, and daring silhouettes. Unexpected cut outs marked the collection, with the models’ midriffs and hips on full display in some of the eye-catching gowns.  They also showcased a few menswear designs, including blazers, luxurious coats, and tailored pants in earthy tones, completed with Hobeika’s signature embellishments and pattern work. German influencer Leonie Hanne made a remarkable appearance, opening the show wearing a mini dress with metallic feathers and crystal embroidery.

Maison Rabih Kayrouz

As much as his style is about purity of lines, ingenious cut, and volumes as airy as they’re exact, there’s always an element of sensuous fluidity to Rabih Kayrouz’s design. In his collection, the Lebanon designer gives ready-to-wear pieces an inventive haute couture twist, while keeping couture anchored to a more IRL vision. Presenting sculptural shapes alternated with more fluid ones in both haute couture and ready-to-wear lines.

Rahul Mishra

Rahul Mishra called his flamboyant haute couture collection The Tree Of Life, recalling a banyan tree growing in the courtyard of his ancestral home. Proud to be the only Indian designer admitted into the inner sanctum of French couture, he wanted to celebrate this new cycle with an ebullient, opulent collection, “whose meaningful concept just felt right for this moment,” he said.

He captured the golden light of sunset with shimmering gold pieces and wanted to replicate the majestic shape of century-old trees. His collection mainly consisted of mini-dresses and bodysuits embroidered with hundreds of tremulous golden-thread leaves.

Alexis Mabille

“Do you think I’m a diva? Then okay, I’m a diva!” enthused Alexis Mabille, reprising Aretha Franklin’s quote as the headline of his couture collection. The French designer celebrated self-empowerment through his creations while proposing daring looks. “I didn’t want the collection to be coherent but embracing many different directions, like on a red carpet,” he mused. The designer touched on many couture archetypes such as long draped dresses, see-through black lace pieces, and elegant smokings.

Stéphane Rolland

Stéphane Rolland dedicates his collection to Barbara, who died 25 years ago, in a fashion show at the Théâtre du Châtelet, where the French singer from the ’60s gave her last concert. “I have loved Barbara since I was a child. It is bewitching, exciting, it is part of my references when I draw, “declared the French designer. The staging of the show will retranscribe to the guests “the emotion when Barbara sang in front of her public” he promised. He succeeded in creating bold silhouettes, using contrasting materials and 3D, sculptural elements. Colorways included red, black, white, and beige.

Julien Fournié

“I cried a lot making this collection”: French designer Julien Fournié put on a sexy and “ultravulnerable” woman in reaction to the pandemic, war, and rising extremism in his haute couture show on Tuesday. The music was dramatic, and the models, draped in figure-sculpting maxi dresses, looked slightly distressed with their tousled hair and dark green lipstick. Manta rays and jellyfish were evoked in the colours and elements of some of the dresses, to evoke both fascination and dread. As with many of the collections this season, most of the looks were ultra-sexy, with plays of transparency and lots of openings on the body.

Ronald van der Kamp

Each look in this fall collection was constructed from deadstock fabrics, archive scraps, and even old looks from past collections reworked for new customers. If the clothes adhered to the idea of conscious fashion —well, that was on-message too. “For me, it’s about eccentricity. If people know who they are, they become a more sustainable person, because they build a wardrobe around their personality,” said the Dutch designer. In other words: stop falling in love with new-season looks, and embrace the chaos of an upcycled one-off.

Words By Melodie Bitala-Samba

^{Header Image Stephane Rolland}

The post This Years Paris Haute Couture Emerging Designers appeared first on Voir Fashion.

Bold and statement worthy, the volume trend has marked its territory for the upcoming season. Amongst the numerous trends spotted in the Autumn/Winter 2020 collections, the volumized look has most definitely caught our attention. Who can blame us when this trend screams the classic go big or go home!

Voluminous sleeves

It was only a matter of time before voluminous sleeves returned to the forefront, claiming its place yet again as a stylish go-to. In the Autumn/Winter 2020 show, voluminous sleeves made a strong appearance amongst many of the collections. Roksanda’s orange maxi with oversized ruffle sleeves is one of our favourites along with Richard Quinn’s bulbous sleeved dresses which rock that nostalgic 80’s feel. If you dare for more extravagance, Viktor and Rolfe display a sculptural pink dress that is sure to turn some heads. A bulging sleeve is asymmetrically paired with one of contrasting size, offering a playful approach to volume.

Bubble up

As the colder months approach, this trend offers a practical yet stylish option for the upcoming season. The catwalk featured an array of enveloping garments with outerwear and dresses offering a bubble-like protective layer. This was a strong look in J.W. Anderson’s collection consisting of spherical silhouettes inclusively wrapping around the body. At Halpern, a dress of explosive colour engulfs the wearer, leaving only the front of the legs visible. Marine Serre took the inclusive look even further with black puffy outwear that conceals around the head; practicality at its best.

Exaggerate the Hip

The Autumn/Winter shows saw an extreme exaggeration of the hips; Area and Moschino being two of the houses that utilize the look. To say that Area’s jackets and dresses accentuate from the waist would be an understatement. Area has pushed hip volume to the extreme with a bulging heart shape that protrudes from a nipped waist. Moschino similarly presents an array of long-sleeved dresses that encompass an umbrella effect around the hip. Paired with knee-high boots, we love how Moschino has merged the traditional with a modern 2020 twist.

Ruffled Volume and Tulle

When we think of tulle it is almost impossible for the words ‘puffy’ ‘big’ and ‘Molly Goddard’ not to spring to mind. We can always rely on Goddard to present some extravagant tulle pieces on the catwalk and for Autumn/Winter 2020 they are voluminous and bold yet still retain that delicate quality. A red dress consisting of ruffled tulle expands outwards and is layered over a jumper for a more casual look. We love how Goddard has paired a sense of volume and extravagance with a staple jumper. At Louis Vuitton, ruffles can also be seen amongst skirts and dresses, the sheerness of the fabric lending itself to layering. Ruffled skirts and dresses can be paired with a sheer trouser as seen in Louis Vuitton or with a checked trouser from Molly Goddard, creating a subtle layered look that is versatile for every season. Words by Brooke Savino

Graphics by Georgia Walters

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New York Fashion Week indisputably sets the trends. Its influence does not stop at fashion and clothing as an array of hair and beauty trends debut on the runway and into the public interest.

HBO’s Euphoria (which debuted this June) has had a strong influence on the makeup artists of NWFW with MUA Romero Jennings even hash-tagging on his Insta post featuring his VFiles looks. With the shows now a vibrant memory, here’s our rundown of the best looks in hair and makeup that will shock, amaze and inspire you.

MAKEUP

Head in the Clouds

At Mansur Gavriel it was all about the eyes. Romy Soleimani (@romyglow) was in control of painting the eyelids of the models, and skilfully utilised white and azure hues to create dreamy looks that mirrored the sky. Soleimani used Bobbi Brown to create these awing looks and kept true to her love of colour.

Acid Green

Do you ever get the urge to find the brightest eyeshadow in your makeup collection and paint it all over your lids? Soleimani’s acid toned eye-looks for Ulla Johnson did just this. Sharp and glow in the dark, Soleimani applied neon green eye pigment delicately and idiosyncratically to each model, creating a masterpiece and continuing her experimental style.

Graphic Eyeliner

VFiles rocks an edgy-streetwear aesthetic and fittingly, MUA Romero Jennings (@romerojennings) went big and bold with the makeup. Red-winged liner to the heavens, holographic glitter, and silver brows all caught our attention.

Jennings put a contemporary yet dazzling spin on 70s punk beauty, using M.A.C products to create the look – Jules from Euphoria would be proud. Use the Chromaline gel eyeliner in Basic Red to recreate the look, and don’t feel pressured to make it too perfect, just wing it.

Rhinestone Encrusted

Pyer Moss’ show was a love-letter to the 70s. Red rhinestones encrusted the models’ eyes and garments down the runway. Uoma beauty took control of beauty and kept up with the brand’s commitment to keeping makeup diverse, purposeful and head-turning. Red monochrome eyes were all the rave. The makeup at fashion week teaches us to have fun with glitter, bright colours and killer wings. Treat your face as a canvas and experiment with a few of these future-facing eye-looks!

HAIR & ACCESSORIES

Don’t Touch My Hair

Pyer Moss’ show Collection 3, Sister also impressed as he put on display the contributions of African Americans to American culture. Fittingly, natural hair slayed the runway and was styled with skill. Such hair looks are long overdue at Fashion Week with African-American models such as Olivia Anakwe previously calling out their negative experiences with hair stylists.

Moss’ show proves that change is occurring.

With New York city only recently banning discrimination of natural hair, Moss’ show seems to question why it has taken this long. His show embraces and celebrates, in all of its glory, natural hair. Mini gold heads of rapper Ms Lauryn Hill embellished braided hair, halo-like Afros graced heads and dreads of all variants were all standouts.

Holo-Hair

Both Jonathan Cohen and Ulla Johnson featured models with hair plaited together with fabric (Cohen) and holographic plastic (Johnson) giving off Boho-Chic vibes. Though fabric in hair is a little 2000’s it could be making a comeback this season. Alice + Olivia colour-coordinated baby-pink hair scarves tied into a ponytail with eye-shadow, major 90s nostalgia.

Bejewelled Faces

Accessories? Makeup? Both? Regardless of unanswered questions – Area stole the show with the way they reinvented the chemical compositions of ‘makeup’. From diamante beards to Swarovski tears, Area’s aesthetic had us in awe and left us philosophising just how they managed to keep the jewels on faces without falling off! Face makeup was kept to a minimum for the show allowing the jewels to shine with full force.

Words by Hena Sharma

Graphics by Fiona Campbell

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New York Fashion week comes to a close with the singing sensation and ultimate female entrepreneur, Rihanna.

NYFW showcased SS20 collections, making it just that little bit easier to prolong summer, as we welcome back the biggest designers in the industry and more iconic shows than ever before. Amongst those big names was the Barbadian singer turned fashion designer, Robyn Rihanna Fenty.

The latest Savage X Fenty collection is highly anticipated after her astonishing show Tuesday night. Guests were prohibited from using phones, so anyone hoping for a glimpse was left disappointed. Only attendees were able to see the collection at the time, underlining a sense of intrigue and exclusivity, that felt like no other show.

With special appearances from Gigi and Bella Hadid and performances from the likes of DJ Khaled and Halsey, it’s promising to be the lingerie runway to watch after the disastrous fall of Victoria’s Secret.

Another famous face spotted was Parris Goebel – choreographer of the Barbadian superstar’s show – who has worked with artists such as Janet Jackson, Justin Bieber and Nicki Minaj. Parris is not only exceptional at what she does, but she represents everything the Savage X Fenty collection is about.

Savage x Fenty aims to ‘celebrate everybody’, having been available in sizes 32A to 42H since its launch last year. Yet, Rihanna’s inclusivity goes deeper than sizing. The 31-year old stays true to her word, and just like her make up range, has catered her lingerie to suit all skin tones. She steers away from the generic ‘nude’ or black bra, and integrates colours that are wearable on all skin tones. On the new collection, Rihanna said, “we want you to feel sexy and have fun doing it”.

You can watch the show from 20th September on Amazon Prime. In the meantime, you can now shop this fabulous collection over at the Fenty website.

Words by Alexia Parks

Graphics by Fiona Campbell

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We have survived the bi-annual shots of influencers jaywalking in their street style outfits, and models’ posse-pics on Instagram as New York Fashion Week comes to fruition.

And this year it seems that it was the smaller brands rather than the fashion Maisons making all the noise. Models were painted glittering green at Gypsy Sport, Pyer Moss presented a love-letter to 70’s glam rock, and Tomo Koizum had spectators peering over railings to gaze over their signature tulle creations with the help of dressers.

Up-and-Coming:

Kim Shui’s collection graced the NY Fashion Week runway at the latter end of the week. Her Spring 2020 ready-to-wear collection solidifies her well-deserved place on the Forbes Under 30 Art & Style List and challenges the idea that she isn’t just an Insta-famous designer popular because of Kylie Jenner’s interest in the brand.

What is unique about Shui’s work is how she seamlessly blends her Chinese heritage and her American upbringing. She splices together qipao-style blouses and dresses with unconventional brocade fabric. In another piece, she manages to pull off a top made in Ming Dynasty style-fabric and pairs it with white trousers.

Shui manages to intertwine her two contrasting cultural identities with the fashion she creates and is definitely a designer to follow.

Sunset Lover:

Sally LaPointe’s SS20 collection points to a potential trend for the next season. Her most recent collection effortlessly displays the art of one-tone dressing and provides some lessons on how we can pull it off too.

Pink on Pink on Pink was the standout of the collection, layering pastel-pink pieces on top of one another. Pink hats, pink coats, pink fur and pink shoes are just some of the items showcased on the runway and work beautifully pieced together in the same outfit.

Bold and bright neon orange looks were also hard-to-miss. LaPointe pairs together fully sequined flowy pants with orange mesh. The sequins catch the light, and the model catches every eye in the room.

The Anti-Fashion Week Show:

Gypsy Sport is daring to be different. How can you not be when you paint models green.

A casual glance at the looks served with their NYFW collection shows just how wildly creative some designers can be. Gypsy Sport is consciously unconventional – equally in terms of the clothing, makeup, hair and even models showcased.

Regarding fashion, what GS does differently is their conscious attempt to look imperfect. The co-ords are unified by the bright blue, yellow and pink flowers that appear loosely hand-sewn on with yellow embroidery thread. This patchwork goes against what is typically expected in fashion – neatness, perfection, machine-like finishing’s. Hence, Rio Urbine’s collection stays true to the sustainable and handmade themes he commits to for his fashion.

There is a realness and high-energy vibe to GS’s work. The makeup featured in SS20 show consists of black lip liner paired with glistening lip-gloss, taking a fascinating spin on gothic makeup and perhaps creating a trend-to-see.

What can, perhaps be most appreciated by GS is a gender-fluid approach to fashion and its roster of models who do not fit the archetype of NWFW. People of colour, transgender models, models of various sizes and body-types all have a place of the GS runway, and that is incredibly refreshing to see. Gypsy Sport is the shape of things to come.

Words by Hena Sharma

Graphics by Sasha Green

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