In 2018 Moncler introduced The Genius Project. The Genius Project is the collaboration of the French Brand Moncler with genius fashion designers to release monthly collections. The project at first was deemed too ambitious for the brand as it is the first of its kind, but has since proved to be not only genius but ahead of its time. Under the slogan one house different voices, Moncler continues to expand their rosters of collaborations with today’s leading designers like Pierpaolo Piccioli, Simone Rocha and Richard queen.

During the recent Milan fashion week, we witnessed the third instalment of this project. The show seemed to blow the previous 2019 show out of the water, with even more collaborations and better art installations. The show featured 11 collaborators from great designers like to Richard Queen J W Anderson, Rick Owens to the luggage company Rimowa.

MONCLER JW ANDERSON

Moncler JW Anderson AW2020 Collection

JW Anderson the new kid on the Moncler block brings us in Moncler fashion inflation and unlike the economy, we approve. The designer recreated his archival pieces puffed up with puffer hats and scarves modelled to the tune of Claire de Lune.

MONCLER RICHARD QUINN

Moncler Richard Quinn AW2020 Collection

Richard Quinn combines the future and past with sci-fi fashion and designs of the ’60s. With his own distinct aesthetic, to produce stunning pieces that presented as a space odyssey in the 60s.

MONCLER SIMONE ROCHA

Moncler Simone Rocha AW2020 Collection

With ruffle bottoms and tulle, Simon Rocha introduces femininity to Moncler’s structured technical and functional designs.

The brand also featured with accessory brands like Rimowa, Mate.Bike and Poldo Dog Couture with incredible art installations of a bike mountain, a dog grooming salon and a wall of luggage by Rimowa.

From the shows Moncler Rimowa, Moncler Poldo Dog Couture , Moncler Simone Rocha, Moncler Mate.Bike, Moncler Hiroshi Fujiwara and Moncler Grenoble Collaborations

The Genius project was purposed as a brand to keep up with the speed of the internet age and Instagram society. The red sands of the Moncler 1952 to the horizontal modelling stage in Moncler Grenoble has provided excellent visuals for the brand to continuously stay present in the minds and social media feeds off its consumers.

Words by Precious Njoki

Graphics by Katie Janes

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The biggest Ooh La La moments at Paris Fashion Week

Paris Fashion Week concluded yesterday and it’s safe to say we have been wowed. New York, London and Milan have passed us by and in turn paved way for the ‘City of Lights’ to shine. From jacquard ball-gowns to floating tulle clouds we’re giving the low-down on perhaps the most vibrant quarter of Fashion Week this season.

Noir Kei Ninomiya’s collection was a fan-favourite for the Avant Garde style portrayed within the show. The designers signature aesthetic was clearly established through the use of in-your-face tulle and sculptural botanical headpieces consisting of succulents and leaves. A standout of the collection was undeniably the floating tulle dress which mirrored a passing cloud in frame and form. The theme for this show was ‘Beginnings’ and the pieces served as a metaphor for the broader leitmotif of ‘Creation’ by largely referencing nature.

Ninomiya’s architectural collection pushed the boundaries of Avant Garde that Japanese designers are so known for. The green moss-covered coat evoked images of trees found in a rainforest and the white dress with pearls protruding from thin wires really brought Ninomiya’s vision into full bloom.

Issey Miyake also had heads turning with their SS20 collection, ‘A Sense of Joy’. Performance art replaced a catwalk down the runway and models were dressed by brightly coloured hoops which lowered down in front of the audience. The brands new lead designer, Satoshi Kondo, continued Miyake’s maximalist approach managed to pay homage to female joy – models skid past the audience on skateboards and frolicked on stage showcasing the flamboyant fluidity of the dresses.

Whilst it is common to see exciting pieces down the runways – Noir’s collection irrefutably showcased this – it is rare to see models excited and having fun. The show displayed the quintessential art of fashion and Kondo stated with the collection he wanted to “look into the relationship between the human body and the clothes, and to express the joy of wearing the clothes and of movement” which he definitely pulled off.

Saint Laurent impressed with their highly adorned frocks which irrefutably harked back to the Boho-chic aesthetic we knew all too well in ‘05. Laurent met the mid-2000 fashion trend, however, with elegance and finesse – embellishing slip dresses with paisley sequinned patterns and pairing it with slouchy metallic boots – Mary Kate & Ashley and Sienna Miller would approve.

Glittered embroidery of every colour on black chiffon reminded us of fireworks exploding cross a night sky and the hippie glam theme was continued through the collection with knee high maroon boots, teal suede shorts and glistening fabric bonnets. Though we thought the fashion industry was still recovering from the trends of the 2000’s, it appears certain designers have now recuperated.

Comme de Garçons effortlessly pulled off grandeur and extravagance in their SS20 collection. Luminescent jacquard, Elizabethan hair and 3D flowers graced the runway and demonstrated just how ‘anti-fashion’ the brand can go. CDG’s commitment to deviating from traditional silhouettes was undeniably seen in Look 9 which featured a skirt which jut out on either side of the model’s waist. Highly bejewelled silk gowns featuring glistening gold brocade made it look as though the model walked out of an art nouveau painting and straight onto the catwalk.

Graphics by Fiona Campbell

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Milan greets us half-way through fashion month; an often welcomed sight after New York and London, as the fashion houses stage a delicate blend of commerciality and artisanal fashion. While brands such as Bottega Veneta, Max Mara and Maison Margiela are making minimalism more customary at Milan, we can always rely on Italian extravagance from the maisons.

Here is Voir’s Italian rundown – ‘è una bella vita’, as they say in Italy.

MAISON MARGIELA

Maison Margiela, known to many as the artisanal French fashion house, never fails to pull off a show that plays on deconstruction and avant-garde. And this year was no exception, as creative director John Galliano deconstructed the very concept of marriage. As frills and tulle cascaded over looks that varied from stereotypically bridal blushing plume dresses, femme white suits, to t-shirts embroidered with “Better half-ism” and “They’re two of a kind” – ultimately the message was: be your own ‘better half’. With look three, in particular, verging on a bridal superwoman look with a tulle cape, and Margiela’s logo printed gloves, Galliano created a bride less ‘runaway’, more autonomy.

It’s undoubtedly wedding season in Italy for SS20.

MAX MARA

Max Mara is adored by many a Scandi-style enthusiast for its definitive minimalism. Oddly enough creative director Ian Griffiths explained that this year’s Spring/Summer collection was inspired by Phoebe Waller-Bridge’s Killing Eve (of whom he is a massive fan).

The collection was less of women’s fashion to be the love interest in a spy thriller, more the protagonist of her own. Griffiths explained to Vogue Villanelle would have everything to choose from “car chase to the ball scene”.

The collection began with a sweep of business attire, as suits, trenches and blazers deployed down the runway in Prince of Wales grey checks, and slowly moving into evening attire as soft ruffles and volant-ed trousers blended into the utilitarian wear. While we saw the typical neutral hue of Max Mara, seen in camel, greys and whites, the soft pastel that picked up in speed as the evening wear premiered at the end of the show was a welcomed sight from the fashion house – we know Villanelle loves a pop of colour.

Tie-dyed prints, bohemian-silhouettes, patchwork denim, tasselled leather, turquoise accessories and a butterfly motif slip dress all screamed a ‘Summer of Love.’

ALBERTA FERRETTI

Alberta Ferretti was an added designer this season who felt an impulse for 1970’s fashion. Perhaps imagined under the guise of a brilliantly hot summer in Europe this past year, or inspired by Margot Robbie’s Sharon Tate, the collection was a perfect cascade of the zeitgeist of American fashion under Nixon. It was perhaps a comment by the designer for a similar call to action for unity in an era of Brexit and Trump.

Tie-dyed prints, bohemian-silhouettes, patchwork denim, tasselled leather, turquoise accessories and a butterfly motif slip dress all screamed a ‘Summer of Love.’ While the darkened hues of the evening wear may have seemed out of place in juxtaposition with the rest of the line, it gave the sequence of colour the illusion of an Italian sunset in the deep-heat of summer: pinks, oranges and violets of a departing sun kissing a skyline goodbye, paired with the turquoise greens, black and blues of a glistening Mediterranean Sea.

EMPORIO ARMANI

It seems that it wasn’t only Max Mara that had a preoccupation for pastels this Spring/Summer, as Emporio Armani’s collection led with a foundation of pastel pinks and blues, and muted olives to offset the striking velvet house blue that left audiences in awe. While we can agree that softened hues are no ground-breaking revelation for a SS collection, the metallic motif that ran throughout the show is certainly more thematic and expected of the latter half of the year. As sequined, silver slips concluded the show, and reflective wide-leg suit trousers scattered looks throughout, it’s clear that for this season Armani, much like Monet, dances with how light bounces off different textures.

No. 21

Baby brand, No. 21’s collection according to founder Alessandro Dell’Acqua was a play with sexuality. As the menswear explored non-conformist femininity (a continuing theme in the fashion stratosphere of late), the women’s moved between patterned floral suits to see-through tulle dresses. The collection came as no surprise as the brand itself was founded on an Italian love of the female form, and Dell’Acqua’s admiration for Yves Saint Laurent’s flirtation with eroticism in his work inspires him to this day.

Graphics by Aamir Potrick

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By the end of fashion month, we think it’s only fair the fashion houses run MUA for Euphoria, Donni Davy and Kirsten Sage Coleman, their cheque. As it seems the ongoing avant-garde-glitterati trend we saw plastered over NYFW showed no signs of stopped this week.

Most notably, so far, was House of Holland. As the show was staged in a mirrored art installation dreamscape, the roster of colour from the collection created a kaleidoscope effect. And it seems this effect was emulated onto eyelids for the show. As we speak, images of the sparkled look in bright candied purples, and lime green yellows is already being sprawled over the Instagram explore page.

Looks from House of Holland

Yet, despite SS20 bringing an armada of flowy, billowing dresses in paisley prints, and florals, it’s often been juxtaposed by grungy, goth style makeup, and the metallic sparkles expected more of the AW shows.

Molly Goddard went for a gothic-geisha look to offset her archetypal plume dresses we adore her for, and Ashish applied dark liner to top and bottom waterlines giving an almost opium-den/‘Manson family’- feel to the 70’s flower power prints and hairstyles.

Halpern offset their heavy-rocker eyes with turn-of-the-century chandeliers grazing along the runway. Done in homage to Barbara Streisand, the collection was all about New York glamour and disco from the native New Yorker.

Applying black shadow thickly as an opaque all-over colour in a wing shape, topped with delicate silver shimmer gave the models an almost feathered eye-look as they danced down the runway in disco-style gowns. Very black swan.

Halpern wasn’t the only example of a theme of angel-winged liner at London Fashion Week, as Simone Rocha used white and black liner to create bird-like eyes. However, Rocha went ever more avant-garde with the look by having individual feathers painted onto models’ foreheads.

With more shows to come from London in its final days, and Paris and Milan still to go, one thing is for sure – keep hold of that sparkly shadow until told otherwise.

Artwork by Katie Janes

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If Paris Fashion Week is anything to go by, 2019 is set to be an exciting year for menswear. Hosted between Tuesday 15th – Sunday 20th January, the spectacle saw runways awash with vibrant colours, patterns, ideas, and pieces that could only be described as art, but in the realm of fashion.

Patterns, prints and stripes are just a few of the elements bringing excitement to a new wave of menswear. Paul Smith showed us how to efficiently clash florals in a way that has only ever been seen in the furnishings of pensioners’ homes. Gucci’s collection looked as if they’d let a hyperactive child loose in a thrift store, with checks and florals, trousers covered in animals, then the most wonderful striped jumper paired with simple floral dungarees. Kenzo supplied us with checked looks that would brighten up even the darkest winter days, and Valentino’s collection was literally out of this world with UFO prints. The message to be taken from this is: adding a little bit of colour to your winter wardrobe will do no one any harm.

Animal Print

Hedi Slimane’s first menswear collection for Celine incorporated animal print in the most classic way, wearing your print as a coat over a well-fitted skinny suit. Raf Simons and Sacai both added a little extra to their animal prints with floral scarves, patterns and square print patches, and JW Anderson took a subtle approach with printed leg/footwear.

Depictions of Art

We all know that depictions of art completely depend on who is viewing them, so it’s really up to you to decided what is art, what is fashion, and what is both. Whether it’s the human form drawings at Loewe, to the graphic prints at Valentino, or the shirts/jumpers at Dior Homme to the doodles at Louis Vuitton, Fashion Week gave us looks worthy of a place at the Louvre.

Bold colour

Bold colour is the new black, according to Paris in 2019. It’s orange and pink that are leading the rainbow revolution, so take your inspiration from Raf Simons and Kenzo in picking one colour and matching it all over as a look. Alternatively, look to Paul Smith, Sacai, and Loewe, go with two or three bold colour choices and clash away.

Whether you choose to pattern it up, clash your way through winter in bold colour choices, or turn your wardrobe into a work of art, Paris Fashion Week Mens has shown that it’s time menswear made its way into the fashion spotlight. Gone are the days of ‘typical’ menswear and in are the days of men re-defining what their wardrobes mean to them. It’s time for a new era.

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