Image Courtesy of British Fashion Council Lily Craigen

Rihanna was the star of the red carpet as all eyes were on her and A$ap Rocky wearing Christian Lacroix and Bottega Veneta. Her blue fur get up was a vintage Lacroix haute couture piece from FW 2002 and fell nothing short of Badgalriri’s signature style. Elevated with stacked silver necklaces and black leather gloves, she stole the show.

Image Courtesy of British Fashion Council Sarah Hellen Treacher

Co-host for the evening, Maya Jama dazzled us as she wore a stunning olive-green gown with cross over detailing at the top and embroidered flowers at the front. The silk flowing train also included intricate embroidery along with a fishnet trim encapsulating Connor Ives as a designer as we see his unexpected fabric combinations and striking colours first hand.

Image Courtesy of British Fashion Council Charlie Wheeler

Jourdan Dunn served us a head-to-toe leopard print moment with Dior. The model chanelled her inner black-cat energy with the cat-eye lashes, and showed off her legs with the micro shorts, perfectly accompanying the blazer and long black gloves. The bakerboy cap finished off the look with a British essence for the British Fashion Awards.

Image Courtesy of British Fashion Council Jack Chipper

Ashley Graham walked the carpet in a gorgeous black dress from David Koma’s first collection for Blumarine. The black dress included a sheer train to finish it off and a structured bodice showing off her figure. Graham, who had her VS debut earlier this year, finished the look off with a slicked back bun and all silver jewellery.

Image Courtesy of British Fashion Council Charlie Wheeler

The stunning Halle Bailey wore a bespoke Ellie Misner dress and channelled her inner Disney princess on the red carpet. She arrived with a light and airy presence as she graced us in a couture piece draped in pearls and holographic cut outs mirroring when she starred as The Little Mermaid.

Image Courtesy of British Fashion Council

Alex Consani became the first transgender woman to win the Model of The Year award last night and as Voir puts it – made style accessible to women everywhere. She walked the carpet looking gorgeous in a Dilara Findikoglu moment and celebrated backstage in style after thanking the transgender models who came before her, paving the way for Consani to flourish.

Image Courtesy of British Fashion Council

Julia Fox joined Consani in supporting emerging designer Dilara Findikoglu, as she broke the internet in the custom dress. The white floor-length gown included sheer cut outs showing off Fox’s figure, and styled with a wet-look up do and icy makeup to tie everything together.

Image Courtesy of British Fashion Council Charlie Wheeler

Chlöe Bailey (left) is pictured looking glamorous in an Atsuko Kudo black gown with a red accent in the bust area. The latex ensemble created a raw feminine energy, the pop of red giving depth to the outfit and her hair matching the vibe as it effortlessly shaped her face. The look was finished off with a silver diamond necklace as we were left with an undeniable serve on the carpet.

Image Courtesy of British Fashion Council Charlie Wheeler

Simone Ashley, Bridgerton star stepped onto the carpet in a baby pink, strapless Prada gown. The coquette dress had different levels to it; from a short front to a long train at the back and was finished off with a matching pink bow on the bodice. Styled by Rebecca Corbin-Murray, Simone Ashley for sure had her girly moment on the runway in that dress, along with a slicked back hairstyle which was giving an iconic pixie cut at the front.

Image Courtesy by Alan Kitrell Instagram

Ming Lee Simmons wore an undeniably daring look to the awards last night as she was pictured in a sheer chainmail dress. The floor length number was figure hugging and sleekly complemented by jet straight hair in a half up fashion and incredibly well contoured make-up. The look gave her a luxuriously fearless presence on the runway.

Image Courtesy of British Fashion Council Sarah Hellen Treacher

Munroe Bergdorf left Voir nothing short of speechless as she dominated the runway in a Patrick McDowell gown. The structured silhouette on the bodice broke off into a bubble skirt and was accompanied by a luxurious train graciously following her. The statement dress created a memorable bridal-like vibe which was sophisticated paired with dramatic flair.

Words by Zlata Gavula

The post The Best Dressed at The British Fashion Awards Last Night appeared first on Voir Fashion.

The choice of merino wool as the only material in all of the pieces was a notable feature. Pierre Mueller chose to weave his magic with a single piece of yarn across the collection, demonstrating the designer’s passion for unity and cohesiveness. The ultimate result was a harmonic blend of simplicity and sharpness, a connecting thread that ran through each piece, demonstrating merino wool’s adaptability as a medium for high fashion. 

Cat Couture

_{Image Credits: https://www.instagram.com/maisonalaia/?hl=en}

 Interestingly, the runway witnessed a lot of cat couture moments, with leopard patterns making a lasting impression. These pieces within the collection could potentially be an indicator of future trends in 2024. Maison Alaïa’s aesthetic was reflected in the balance of simple patterns and elegant leopard prints. Pierre Mueller’s objective for the entire collection was to capture a thread of feeling that was both fragile and strong. Each piece spoke to the complexity of human experience, mirroring the delicate balance between vulnerability and resilience. As a result, the collection went beyond the physicality of clothing and explored emotion and storytelling. 

‘Quiet Luxury’ Aesthetic

_{Image Credits: https://www.instagram.com/maisonalaia/?hl=en}

What truly defined the Pierre Mueller collection was the presentation of an expensive ‘quiet luxury’ aesthetic. The subtle whispers of luxury were woven into the fabric of each outfit, producing a sophisticated air that captivated the audience. A really interesting and beautiful piece was the one-piece bandeau dress presented in the third picture, a 3D-printed spiralling belt that clicks into place around the body to create a luxurious modern dress, the spiralling pattern providing a visually striking impression. 

The combination of technology and fashion was apparent in this futuristic piece, which showcased the exciting possibilities of 3D printing in the world of haute couture. Not only this, but the garment also showcased a forward-thinking approach to fashion design. The precision and delicacy of the 3D-printed belt gave the outfit a futuristic feel, transforming it into a wearable work of art. Beyond its visual appeal, the spiralling belt clicking into place provided a unique and secure technique to build the dress. This blend of form and function showcased the designer’s forward-thinking perspective, challenging traditional fashion norms. 

In essence, the Maison Alaïa’s SF24 runway show from Pierre Mueller’s collection highlighted textiles, texture, and craftsmanship. Each garment, precisely created from a single thread of merino wool, showcased the designer’s technical ability. The incorporation of cat couture moments and leopard patterns hinted about trends to come in 2024, while the overall idea of ‘silent luxury’ left an indelible impression on the audience. Pierre Mueller was successful in designing a collection that was more than just apparel, but also a full experience in the world of fashion. 

_{Written By Gabriella Neocleous}

The post Unveiling The Elegance: Maison Alaïa SF24 Runway Moments From The Pierre Mueller Collection appeared first on Voir Fashion.

An argument in favour of the everpresent is-couture-art-or-not debate has always been Schiaparelli’s otherworldly designs. And this boundary-bending, dramatic 2023 collection has proven to be another winning point for the affirming side.

How could it not be, with each of the thirty looks inspired by avant-garde artists?

The appropriately named ‘And The Artists’ collection was filled with artistic references from different schools and eras that, although not inherently connected, flowed together seamlessly because of their shared values: the craftsmanship and sense of wonder that characterizes the fashion house.

After the past few streamlined collections we’ve seen from Roseberry, this decision to reinterpret the maison’s codes in a maximalist way was a refreshing excitement.

“The last season was so reduced, I really wanted the focus to be on techniques, color, and the privilege of being able to create couture,” he declared backstage. “It’s been about going to artists that she [Elsa Schiaparelli] collaborated with, but also artists that I’ve been inspired by—there’s a whole cacophony of references in there.”

One model wore a broken-mirror cardigan and skirt set referencing sculptor Jack Whitten’s mirrored mosaics, while wooden mannequin arms and necklaces were a nod to Alberto Giacometti. Another model was hand painted in brushstrokes reminiscent of Lucian Freud, and a faux fur coat imitated the palm fronds from Matisse’s studio. Yves Klein’s signature cobalt blue was a constant sight, covering everything from lapped mini skirts to models’ skin. With nods to Jack Whitten, Sarah Lucas, Salvador Dalí, and Joan Miró, the show proved that Roseberry’s Schiaparelli deserves that place next to these artists’ work in a museum.

The female anatomy wasn’t overshadowed by the collection’s artistry, either, with gilded ears in beaded clasps and peep-toed pumps keeping the trend alive. Since his arrival, Roseberry’s focus on feminine silhouettes and craft-like accessories has thrown the fashion house into the spotlight that Elsa Schiaparelli always wanted it to occupy. It is this commercial success that allowed him to break free from the head-to-toe formulas that the founder frequented, opting instead to find freedom in separates. Elsa’s own granddaughter, Vittoria Marisa Schiaparelli Berenson, seemed to approve from her seat on the front row.

“These are pieces a woman can assemble however she wants,” Roseberry wrote in the presentation’s notes. “Most of the ‘looks’ you see here were put together in the days leading up to this show. This approach felt like a Surrealist’s interpretation of a woman’s essential closet.”

He wanted to create ‘an impossible wardrobe’– and it’s safe to say he succeeded. The show was contrasted by modernized classic shapes like beaded silver shawls and physics-defying little black dresses that promise many viral red-carpet moments in our future. Cardi B, Tracee Ellis Ross, Gwendoline Christie, Chiara Ferragni, and Emily in Paris‘ Philippine Leroy-Beaulieu were on the front row, so we won’t be surprised if they’re among the celebrities donning some of these looks hereafter.

When thinking of Schiaparelli, one can’t help but think of fine art, divine craftsmanship, and surrealism. So Roseberry’s embrace of this connection to create a couture collection is just what the brand needed after all the negativity from last season. The ‘And The Artists’ show hasn’t just redeemed the house– it has also put to bed any doubt that couture isn’t an art form.

_{Words by Alexia De Las Heras}

^{Header Image By @Schiaparelli Instagram}

The post Schiaparelli’s Fall 2023 Collection Isn’t Fashion – It’s Art appeared first on Voir Fashion.

https://www.instagram.com/p/CsISHQjIGbQ/

Here are our favourite looks:

^{Image Credit: Z.J. Backgrid}

Living up to her Queen Bee reputation, Beyoncé wore this custom Mugler yellow and black metallic bodysuit, paired with black vinyl gloves and thigh-high boots, and a helmet equipped with antennae and yellow-tinted sunglasses. The outfit references the Mugler spring 1997 couture collection, inspired by insects.

Fans went crazy for this magical UV-colour-changing dress by Anrealage. The white bell-sleeved cloak transformed into a multi-coloured display when the light shone on it. The technology behind the coat was the work of Tokyo designer Kunihiko Morinaga, who showed colour-changing clothes at Paris Fashion Week FW23.

https://www.instagram.com/p/CsI0LHHsEYZ/?igshid=MzRlODBiNWFlZA==

Beyoncé was giving ‘Formation’ with this wide-brimmed hat and a custom diamanté leotard from Balmain FW23. The bodysuit featured an intricate pearl web, matching her pearl-rimmed cat eye sunglasses, and was styled with black vinyl thigh-high boots.

£ 5795

Balmain Silver Embroidered Dress

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£ 27

Ego Diamanté Droplet Detail Western Hat

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£ 15

Pieces Diamanté Cat Eye Sunglasses

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£ 654

Le Silla Eva Thigh-Length Leather Boots

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^{Image Credit: Kevin Mazur}

Out of all her bodysuits of the evening, this bejewelled Loewe number stole the show. Adorned with manicured hands, with which Bey wore matching latex gloves, the suit was custom made by Jonathan Anderson and was reminiscent of the hand-dress from Loewe’s FW22 collection at Paris Fashion Week.

£ 895

Loewe Gloves Graphic Print Velvet Maxi Dress

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£ 22.50

Jaded London Kiss Me Quick Raw Hem Tank Top

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£ 36

Jaded London Kiss Me Quick Raw Hem Maxi Skirt

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https://www.instagram.com/p/CsIxSdMsvHX/?igshid=MzRlODBiNWFlZA==

Another custom Balmain look, Beyoncé transformed into a mirror ball in this asymmetric mirrored mini dress. She paired it with silver thigh-high boots and metallic sunglasses.

£ 220

rotate Birger Christensen Hemly Strapless Croc Effect Dress

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£ 26

Weekday Trek Oversized Sunglasses

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£ 42.49

Raid London Amberr Long Block Heeled Boot

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^{Image Credit: Kevin Mazur}

Beyoncé wore another bodysuit, this time a futuristic-silhouette number from Alexander McQueen. It was hand embroidered, mixing different textures like rhinestones, intricate beading and metallic threads, and featured padded shoulders and hips.

£ 606

Zhivago Message To Love Jumpsuit

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£ 52.50

Jaded Rose V Neck Embellished Jumpsuit

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https://www.instagram.com/p/CsGR45ygP7e/?igshid=MzRlODBiNWFlZA==

David Koma, who also designed Bey’s Oscars performance look last year, created this custom ensemble inspired by his SS23 collection. The look consisted of a turtleneck bodycon dress with a ruched, high-low skirt, a long iridescent metallic coat, chunky silver earrings, and holographic asymmetric cowboy boots.

£ 1160

David Koma Mother Of Pearl Print Mesh Dress

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£ 493

Alexandre Vauthier Holographic Knee High Boots

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£ 55

Club Exx Solar Beam Iridescent Jacket

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£ 189

Kenneth Jay Lane Silver Tone Crystal Earrings

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Beyoncé heads to England next week and covers 40 cities in Europe, the UK, Canada, and the US, concluding in New Orleans in late September. Let’s hope we get to see even more looks as the tour goes on!

^{Words by Lucy Walshe}

^{Header Image by Kevin Mazur}

The post Beyoncé Kicks Off Renaissance Tour In Custom Couture Looks appeared first on Voir Fashion.

Rousteing told French Vogue that the idea to collaborate came about when he was sketching while listening to the new album on repeat after its July 2022 release, and was inspired by the lyrics and music. He contacted Beyonce and her stylist, Marni Senofonte, and said he would like to create a couture collection together as co-designers. He had many sketches inspired by the album but managed to whittle it down to just one per song, two of which Beyonce already wore to the Grammys and BRIT awards before the collaboration was officially released. The looks incorporate historic elements of Balmain and celebrate Beyoncé’s heritage, bringing to life the powerful emotions encapsulated in her music.

Rousteing and Beyoncé have worked together many times over the years, from perfecting outfits for her 2018 Coachella headline to opening his 10-year anniversary show for Balmain in 2021.

She says he is a “dream collaborator and a constantly innovating and evolving creative”, with whom she knew she “would want to work on a collection from their very first meeting”.

Renaissance is Beyoncé’s 7th studio album, created during the COVID-19 pandemic with the intention of inspiring happiness and an escape from isolation to listeners, and to celebrate the liberation of marginalised people through dance. It won a Grammy for best dance and electronic album and was nominated for album of the year.

Now, let’s look at some of the 16 outfits it inspired:

Cozy; comfortable in my skin (cozy, cozy)

^{Image Credit: Balmain}

A ‘feu d’artifice’ firework-inspired dress made of black velvet and pink feathers with a matching black velvet turban. The look represents self-love and visualises being surrounded by explosions of fireworks.

Break My Soul; I’m buildin’ my own foundation, yeah

^{Image Credit: “Church Girl” from Renaissance Couture – BeyoncéxBalmain. Photography by Louie Banks, courtesy of Balmain}

Draping shiny black velvet to create a hooded dress, cinched with a black chrome electroplated bustier. Designed to project power and confidence onto the wearer, creating the illusion of a naked torso by 3D printing the bustier.

Thique; Baby, that’s that thique

^{Image Credit: Balmain}

Hammered brass bustier adorned in crystal pendants over a black velvet bodysuit, with matching crystal earrings and velvet turban. Inspired by Parisian chandeliers and traditional ballroom design.

Church Girl; nobody can judge me but me, I was born free

^{Image Credit: Balmain}

Black velvet cape with red interior, metallic belt, and silver chrome bustier. The hat is inspired by records. The outfit represents success, self-confidence, and not apologising for enjoying yourself.

Pure/Honey; It should cost a billion to look this good

^{Image Credit: Balmain}

Mixing sequins, metals, and feathers with harlequin, zebra, and psychedelic patterns to create this bodysuit. As seen on Beyoncé at the BRITs, it aims to pay homage to and channel the energy and joy of the ballroom community.

Virgo’s Groove; I want it right here, right now

^{Image Credit: Balmain}

Pink velvet gown and ‘second skin’ with metallic décolleté by sculptor Elie Hirsch and a reinterpreted vintage Balmain hat. Beyonce and Olivier are both virgos, and the look represents disco, funk, and intensity.

Energy (01); Oh, la, la, la
That’s the way them boys sound when I walk through the block-block-block

^{Image Credit: Balmain}

Black-dyed pheasant feathers grab your attention, embroidered onto a macramé gown. Crafted from black silk, velvet, rayon, and patent-leather threads, this was one of the most complicated designs in the collection, designed with the intention of creating something sensual and alluring that commanded power.

Energy (02); You know that I’m gon’ be extra when that camera go pop-pop-pop-pop-pop-pop

^{Image Credit: Balmain}

Gown, hat, and earrings created with a pattern inspired by traditional African hair-braiding. Taking over a month to complete its creation; the gown began as a series of sketches of African motifs before transforming into this powerful silhouette.

America Has a Problem; Boy, you can’t get no higher than this No, ‘cause love don’t get no higher than this no, no

^{Image Credit: Balmain}

Jumpsuit with draped red velvet and gold chrome bustier. It reflects the song’s confidence and attracts attention through its similarity to the red carpet.

Summer Renaissance; It’s so good, it’s so good, it’s so good, it’s so good, it’s so good

^{Image Credit: Balmain}

Wig, cape, and dress embroidered with fringes, crystals, and rhinestones.The final track on the album inspires outright extravagance and maximalism. Beginning her world tour in May 2023, we can only hope to see more of these looks on Queen B, perhaps she will wear one to the upcoming Met Gala…

_{Words by Lucy Walshe}

^{Header Image by Mia Washbrook}

The post Balmain And Beyoncé Produce First Wearable Album appeared first on Voir Fashion.

From hair and makeup, to skincare, accessories, and nail extensions, when it comes to the notions, trimmings and hand-made embellishments that make up the intricacies of haute couture, attention to detail is irrefutably, vital. When these little elements of beauty are taken advantage of, it’s clear that there’s no better way to elevate when it comes to sophistication. After all, isn’t that what haute couture is defined by? 

This month, a series of beauty trends inevitably made an appearance on the runway. Fendi, Dior and Elie Saab glazed their models’ skin in gloss and glitter, an ethereal take on the glassy skin trend that proves perfect for the summertime. Swiftly followed by the prominence of the classic red lip at Schiaparelli, as well as slick space-buns at Iris Van Herpen and pigmented eyeshadow at Viktor & Rolf, this year’s beauty moments most certainly didn’t disappoint. 

Below, you’ll find all the best beauty moments that are worthy of your attention – whether that be on the catwalk, or the front row. 

Jean Paul Gaultier 

As the latest guest designer for Jean Paul Gaultier, Olivier Rousteing, Creative Director of Balmain, honoured the brand’s roots through a series of nostalgic references. When it came to accessories, there were dramatic beaded necklaces, chains, cone-bras, and platforms, making the perfect partner for glass garments and tin-can inspired skirts. 

Models’ wrists were adorned in chunky silver bangles and large pearls, whilst fingertips were topped with extensions reminiscent of silver graters that drew industrial parallels with the classic acrylic manicure. Paired with ears that were laced with piercings, whether they be hanging bucket earrings or industrial bars, Jean Paul Gaultier’s show didn’t shy away from extravagance and exceptional attention to detail. 

Luckily, the show got even more exciting when the attention was shifted from the runway to the side-lines. Attendees such as Kim Kardashian stirred a media frenzy when arriving on the front row, accompanied by daughter North West, in a pinstriped beret, black shades, metallic cuff bracelets and a silver nose ring that connected to the ears before draping across the chest like a necklace. Wearing large chokers and a subtle nude lip, the duo’s all black outfits were brought to life by their accessories. 

Vetements 

Whilst last season, faces were obscured with masks, this season, in Gvasalia’s first physical show for Vetements, there were an array of diverse characters that graced the runway. Whilst of every age, gender, ethnicity and background, their hair most certainly took centre stage, drawing our attention (albeit momentarily) away from fashion and onto the importance of beauty when making a statement. 

Hairstylists Pablo Kuemin and Jody Taylor met with each of the models individually in the lead up to the show to discuss what their hair look would be, making clever references to famous movie stars, distinct street styles and the British punk scene. From neon buzz cuts to liberty spikes, the show told stories of Gvasalia’s earliest experiences with fashion, alluding to distinct childhood memories that, by extension, couldn’t help but make you burst with nostalgia. 

Iris Van Herpen 

Iris Van Herpen’s 15th-anniversary collection at this year’s Paris Haute Couture Week celebrated beauty in all its ethereal glory, centring around the metaverse and the ultimate impact that virtual fashion will have on the way we dress. As a designer whose niche is characterised by the analysis of modern technologies and how they will alter our approach to our attire, there’s no one quite like Iris Van Herpen to carve out a collection where each beauty look is just as transformative and hyperreal as the clothes themselves. 

Created by nail artist Tomoya Nakagawa, the multidimensional collection was complimented by 3D, translucent nails that twisted and turned upon each fingertip, and when it came to makeup, MUA Chiao Li Hsu’s work was just as exciting. The models’ eyes were surrounded with eyeshadow that was reminiscent of gold and silver leaves, whilst bleached eyebrows, the trend that has undoubtedly infiltrated the beauty industry as of late, stood in stark contrast to a natural, dewy base. 

Space buns have been a favourite for years, but stylists Olivier Schawalder and Björn Axén took them to the next level at Iris Van Herpen’s show. With slick, tail-like braids that crept along the scalp and over the models’ faces, each hairstyle was sure to impress, channelling that of a mythological creature that had been elegantly swept across the ocean floor. 

Schiaparelli 

At Schiaparelli’s show, British makeup artist Pat Mcgrath orchestrated beauty looks that struck the perfect balance between drama and sophistication, with contoured cheekbones, red-lips, and winged smoky eyes heightening the effect of Roseberry’s timeless designs. In terms of hair, stylist Guido Palau similarly yet subtly revealed his artistry through simplistic up-dos, often masked by large hats to allow the geometric nature of Roseberry’s collection to bask under the limelight. 

Attendees such as Rina Sawayama wore a black mini dress featuring a gilded brass jewellery harness in the shape of a mouth, whilst Hunter Schafer wore a black mini dress with a corset effect bustier and horn neckline. Rina’s eyes were coated in glitter whilst Hunter’s golden eyeshadow matched her golden surrealist earrings perfectly. 

Viktor & Rolf 

Viktor and Rolf’s show had a distinct 80’s feel that could be seen consistently, whether that be through the clothes, or the makeup. With exaggerated blazers and graphic stripes to captivate your attention, a multicoloured palette of pink, blue, red and even aubergine was gently painted across the models’ eyes, lips, and cheeks to take our admiration that one step further. 

Lashes were either coated in a fluorescent orange or navy, suggesting that coloured mascara is the next trend set to re-emerge. For those who aren’t so into eye makeup, mirrored aviators appeared an ideal alternative. 

Whilst ahead of the curve in terms of makeup, Viktor and Rolf kept it simple when it came to hair. Sleek and glossy, the models’ hair was often brushed back into a coif so that the eye makeup could do the talking. 

Words by Gracie Eastwood

^{Header image: @tomonyan55}

The post The Best Beauty Looks at Paris Haute Couture Week appeared first on Voir Fashion.

Bilal Hassani

French singer, Bilal Hassani, arrived for Jean Paul Gaultier’s show in a lilac satin puffer-style dress. On her way to the show, Bilal covered the dress with a rolled-collar jacket and beige rimmed shades. Comments on Bilal’s Instagram post humorously compared her look to “a park avenue mom dropping off her kids”, a fitting look for a show as extravagant as Gaultier’s.

Fredrik Robertsson

Self-proclaimed fashion addict Fredrik Robertson did not take Valentino’s all-black dress code lightly. Wearing Swedish fashion designer Wilhja, Robertson rocked an immense, (definitely not little) black dress. The ruffled dress was paired with black visors and an evening bag coated in silver studs. The punk rock look matched the show’s ethos of redefining couture.

Amina Muaddi

Fashion label owner Amina owned Haute Couture Day 3 in a bright pink hooded bodysuit under a figure-hugging corset in a translucent red shade. The star posted snaps of her iconic look in a trippy mirror-filled room, adding to the look’s allure and unique style.

Caroline Daur

If there’s anyone we can rely on to always have a 10/10 look at fashion week, it’s high fashion blogger Caroline Daur. Swapping trousers for gloves; the German beauty sported an oversized black shirt with lengthy gloves and a classic Valentino bag in a sunshine yellow shade to add a pop of colour to the all-black theme.

Jessica Wang

After a busy week on the front row of designer’s shows, Wang took to sightseeing on the streets of Paris wearing a two-toned green and white dress. The look was pulled together by a chunky gold belly chain and even chunkier barbie pink heels. A look as elegant and timeless as the Parisian monuments she posed outside of.

Leonie Hanne

While fashion blogger, Leonie Hanne, couldn’t make fashion week this year, she posted a reel to her Instagram as an ode to her favourite Valentino looks of the past months to celebrate the fashion house’s show. Hanne collated an array of colourful looks such as a 1920s style art-deco dress and loose blazer/ pant duos in bright pink and green. In the heartfelt post’s comments, the blogger said she “cried watching Valentino’s show in bed”- a similar response to the one we had while watching her stunning reel.

Yendry

Artist Yendry arrived at the Jean Paul Gaultier show in a fresh and futuristic look. Yendry’s dress mimicked the legendary body-shaped perfume bottles which Gaultier is known for. The figure-hugging dress was grey with graphics of the female anatomy on the front.

Words by Olivia Booth

^{Header Image: @fredrikrobertsson}

The post Day 3 of SS22 Haute Couture’s Elegant, Diva, Street-Style Looks appeared first on Voir Fashion.

“A collection that is as emotionally unbridled as falling in love. A tribute to romance, to excess, to dreams. Is there anything more urgent today than to dream big? To dream of a better world? To grab every piece of beauty with both hands?” Roseberry has ruled. And it is thanks to the collection’s intoxication of euphoria that the Haute Couture Fall-Winter 2021 fills our hearts, a lost beauty that is needed more than ever and that our eyes seem to drink greedily.

Guiding the inspiration of the designer is the constant desire to update the past without being nostalgic: as fundamental as the respect for its heritage, it must not become constrictive and limiting, but instead offer a basic imaginary on which to build a new aesthetic. With the Matador collection, Roseberry evokes the extreme silhouettes of Madame Elsa, the perfect colours of Christian Lacroix, takes inspiration from the art of Ingres (especially his notorious fluidity in painting the smooth curves of the body). There’s even some Manet and his talent in representing human truths. And what is truer today than an urgent need to be amazed?

Three are the chapters in which the creative director articulates his narrative. The first is a tribute to the tailoring of the Maison and the skill of Elsa Schiaparelli in building jackets. The structure is oversized and majestic, with large barrel sleeves and slender busts, where the combination of cut and decoration reaches an absolute balance. Denim replaces classic wool, and vintage remnants from the archives are assembled to build a garment that condenses past and present, with metallic breasts and black tassels that play on a concept of nudity and enhancement of the body. A hint of the gluteus is shown and an uncovered back in lamé leather decorates the derrière. There is also Jean Cocteau, who appears in the creation of black crepe wool with curved sleeves, a flower of embroidery of Lesage silk roses in a shell that resembles a jacket made for Schiaparelli in 1937.

_{^{(left) Jean Cocteau’s Schiaparelli Coat, (right) Schiaparelli AW21}}

The story continues with a focus on jewels and their interpretation of the continuation of the body. The jewel is not added, it is not intended as an accessory, but is an extension of the physicality. A golden rosette eludes the classic bustier to propose a different vision of femininity, where the nipple is a bud. Emblematic is the filigree collier that branches off into the capillaries of the lungs, as if it were a celebration of our breath that was so endangered during these last two years of pandemic. The nose and belly, lips and ears are cast in gold or made of ceramic, the bijoux become embroidery and minaudiere, occupying and conquering a new space in which the body can expand.

It concludes with the chapter dedicated to colour. A black dogmatic colour counterbalances the vibrancy of the salmon pink and cornflower, with orange terracotta, lunar silver, a crisp Renaissance blue and milky white set as primary shades of the brand. Each tone is carefully decided and never mentioned, there is no trace of nuance but the color itself, which is clear and absolute, does not mix or blend with others, limiting the variety in favour of a chromatic precision that enhances every single shade of the collection.

In a press release to coincide with the launch of the collection, Roseberry said the following, ‘Here’s what I want: No more cookie-cutter fashion. No more pieces that look like they could have been made by anyone. No more cynicism. No more irony. No more timidity. No more coolness. Give me more beauty, more earnestness, more romance, more effort. I hope this collection reminds everyone who encounters it of the sheer delight that fashion can bring us in hard times, and with it, the promise of more joy when the clouds part. Give me more fashion. Give me more hope.’

The Schiaparelli Haute Couture Fall-Winter 2021 collection is this and much more. The long-awaited return to a world of fashion that puts creation and originality above all, it’s extroverted, loud, and it’s imagination is not constrained, and the aesthetics have a right to exist even just for aesthetic purposes, cultivating a lust that restores us from a famine of beauty.

Words By Tommaso Donati, Graphic By Millie Pollok

The post Schiaparelli’s Ode To Baroque: The Autumn 2021 Couture Collection appeared first on Voir Fashion.

In the past few months, the fashion world has been changing to safely adapt to the restrictions caused by the pandemic. With many more fashion events going virtual, the industry is reinventing itself. But it’s never too early (or too dangerous) to start planning a return to physical shows.

As the first-ever digital couture week is still underway, and Milan and Paris menswear shows are set to take place online towards the end of July, Louis Vuitton unexpectedly announced that its 2021 menswear collection will be displayed in a season-less and itinerant tour of fashion shows around the globe, debuting on August 6 in Shanghai as part of a public event and in Tokyo at a later date.

The collection, titled ‘Message in a Bottle’, will mainly focus on sustainability: speaking to WWD, artistic director Virgil Abloh revealed that the collection is composed of 30 looks crafted with new material, 25 looks made up of recycled and repurposed material, and 25 looks carried over from the previous collection. Every reconditioned piece will show the Upcycling Signal Logo which is a new emblem of the brand.

The second aim of Virgil’s collection is to reinvent essential fashion components and apply them to modern times, thus relating them to the needs of people working from home. “I want to urge the industry not to just focus on easy-to-sell garments that we know work commercially”, the designer said. “This next show is probably the biggest leap that I’ve made in terms of proposing a new system, how it lives and operates. It’s probably the most fully packaged from the clothes itself and the craftsmanship to the things you’ll see with the films and how it activates,” Abloh told WWD.

The Adventures of Zoooom with Friends from Official Louis Vuitton Youtube

There are high expectations for this new project since it will be one of the few events which will physically take place around the world.

Vuitton plans to start off the international tour with the screening of the short film ‘Adventures of Zoooom with Friends’, starring animated characters in a live-action world and now available on YouTube. The French fashion brand shared the prologue on social media, promoting the event with a series of colourful posters and posts showing the characters hiding inside shipping containers as the cargo ship sets sail. Words by Gennaro Costanzo

Graphics by Georgia Walters

The post From Paris to Shanghai: Louis Vuitton is to Release Their Latest Menswear Collection in Asia Shows appeared first on Voir Fashion.

From fashion photography to front rows of Fashion Week, London fashion illustrator Scott W Mason talks to Voir about his fashion inspirations, favourite illustrators and fashion week surprises. He describes his creative style, his inspirations and his process.

Scott’s collaborations include brands Apple, Selfridges, Alexander McQueen , Axel Arigato, Ted Baker, Reiss, House of Holland, Danone and SkinnyDip London.

You studied Fashion Photography for your BA degree but went into fashion illustration. How did that story unfold for you?

I’ve drawn a lot longer than I’ve ever taken photos. I used to draw a lot and then I started watching America’s Next Top Model, as embarrassing as it is, and I used to love the photoshoots that were from there because they’re quite extravagant. I was like a 12-year-old kid so I could not afford to do those type of photoshoots, so I started to draw my ideas out instead, and that’s when I sort of took a more fashion approach. I was still quite young, I couldn’t draw as well as a photograph can capture something so I went back to photography and then I went into uni to do fashion photography because I thought it’s easier than drawing in a way. After a while I realised I can’t take photos for shit! So I ended up spending the rest of my three years at uni drawing on my photos just to get a decent mark so that’s kind of how it turned around again. I literally just thought drawing was so much easier and cheaper.

You would say that fashion always was a focus of your work, like it’s always been a calling hasn’t it?

Yeah, I don’t know why but I’m just excited by the structure of clothes and I guess its expression of it. I’d think that when you’re doing a drawing of something that includes fashion it’s more of a purpose to it because you’re illustrating something rather than just making something from the top of your head. People are always like what’s the point in drawing? And I’m like “Argh, there’s a reason behind it!” I mean it’s not really needed but I mean you could say that about a lot of things. It’s just an artistic expression and creativity, it doesn’t have to be, you know for sole purpose of studying something.

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We absolutely love your colourful and creative pieces. How would you describe your own illustrative style?

I’d probably go modern, minimal, maybe abstract because sometimes I show people my work and they’re literally like “what the f*** is that?” Maybe textured. I guess you see it more in person rather than in scans but the paint strokes add a bit of depth to them. We’ll add bold in there for good measure.

What do you enjoy most about being a fashion illustrator?

I still get excited by, it sounds silly, but a blank piece of paper because when you start out you don’t really know what’s gonna happen and what you’re going to end up with so even after drawing for 20 years it’s still exciting to be like “Ah what can happen?” But being a fashion illustrator, I think it’s sort of a cooler illustrator which really isn’t fair or true but because people perceive fashion as being such a cool industry if you do anything to do with that they’re like “Oh my god, so cool!” My favourite thing is it’s not that well known and it’s not quite as mainstream as so many other things so it’s quite a niche.

Where do you get your inspiration from for your new illustrations?

If I’m scrolling through Instagram and I see a pose that sort of captures my eye then I want to draw something similar and inspired by that. Or just watching fashion shows, I was scrolling through Paris Fashion Week today and I saw like 100 looks I want to draw and I’m trying to pick which ones. Because the first and foremost thing that inspires me is obviously the clothes.

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What is the most important aspect for you when creating a new piece? What is the one thing you prioritise the most?

I don’t prioritise getting it that similar to the actual garment. I think I just prioritise having a nice-looking drawing, it’s all quite subliminal and you don’t really think about it. I think I prioritise the pose the most because I think the pose brings emotive or a story to the piece.

What attracts you to a garment? What are the first details you look at?

It used to be hemlines because if someone had a lot of stuff with hemlines and a lot of strong shapes I’d sort of see the black linear line in my work and I’d automatically apply it to that. But that was when I used to work just mainly fineliner and not a lot of colour. But now I think print is what really inspires me because I’m obsessed with drawing floral prints at the moment and I think everyone is getting bored of it on my Instagram. I can’t stop. Yeah, I’d say floral prints I’m obsessed with, and gloves.

Why gloves?

I’m not sure, I think the way you can draw a hand and add in the crease of the glove and then you can add shadows and highlights to it. I think it’s so I can cover up really bad drawn hands because I make it as abstract as possible, but one of my favourite illustrators I think drew a lot of gloves

Who is your favourite illustrator?

Tony Viramontes. His style definitely inspired me a lot and then Egon Schiele I adore as well, so I think if you look at those you can probably see the aspects of stolen. Subconsciously but yeah.

What is the process illustrating for a live show? How quickly do you have to work?

Oh god it’s a nightmare. I gave it a rest for like two years because I was being so socially reclusive and didn’t want to go. And then I went last September for a few shows and I completely forgot how quick it is and how stressful it is. What I tend to do is I like to pick up key details so if it’s just stuff that catches my eye like maybe the hairstyle they’re using and the makeup, little buckles or just little aspects of that it’s sort of like a log for me. I’ll remember when I go home like “Ah, I wanna showcase that detail.” It’s true you can’t end up with a good drawing at the end of a fashion show because it’s just impossible. That’s why presentations are great for illustrators because you know they’re on for like an hour, two hours, you can actually get time to do something.

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So out of the fashion shows you’ve been at, who has approached you that has really surprised you that you didn’t really think you were going to meet?

What’s surprised me most about fashion week is I got recognised a couple times last time and I was like oh my god! It’s so bizarre to have someone come up to you and recognise who you are because you just kind of post online and don’t think about it and you kind of forget that people do see and take note of who and what you are. But no, I haven’t actually met any celebrities or designers as of yet as far as I’m aware. If I have, I’ve forgotten because I was drunk.

Is there a particular brand that you’d love to collaborate with that you haven’t yet?

Kenzo was always one I used to love when I was at uni. That would be so cool. Just a brand that’s slightly out of the box. Kenzo would be a cool fit or there’s Axel Arigato who I’ve done a few events for, but I’d love to do a design for a print for a shoe or something. I’m just fed up of seeing my work just as a piece of paper, so I just want to go and get my work and apply it to something. So, whether that’s clothes or a product or something like that, it’ll just be cool to see it in action rather than just an object.

What piece of advice do you have for Voir readers who are aspiring fashion illustrators?

I would say just draw constantly because the one thing you always fall back on is your ability. Instagram is incredibly important, do it as much as you can. Draw celebrities and tag them to get them to repost you. It’s the best free marketing tool you’ve got and it’s the only way unless you’ve got a million people you know in the industry already, that’s your easiest foot in the door. Your style is incredibly important because that’s how people recognise you. But it’s a tricky one because you can’t actively go out and search for a style so you’ve just got to take inspiration from everything and keep working and then your style will develop over time. Don’t do what everyone else is doing. Stand out from the crowd, baby! Oh, and contact people. Don’t be scared because I’ve always been told that a closed mouth doesn’t always get fed. Literally email anyone and everyone. If you’re approaching any of these big brands, I will definitely say approach with some idea of what you can do for them in mind otherwise they’re probably not going to get back to you.

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