In an unprecedented era of social distance and physical isolation, Jacquemus’ latest campaign finds surprising creative potential in the connective power of today’s digital technology.
Peep the campaign below.
We skulked to the rear entrance of the venue to access the backstage a couple of hours ahead of the show’s start. Navigating the dimly lit corridors of the church hallways, we found ourselves in the changing room. The run of show board detailed 37 intricate looks, each with a respective title, and all complementing the extensive vision of the “Femme Vortex” theme. Models ran across the floor, making sure to finish any last bits of hair and makeup prep before the final tech run-through of the show. As places were called for the rehearsal, the room went dark, and the doors slammed shut. The soundtrack for the show began to play, and the show’s choreographer led the models through their marks, Dilara observing closely. The designer could barely contain her glee as she looked over the months, if not years, of work and energy she and her team had poured into the collection.
After the run-through, the realization that all of the work would be coming to fruition in mere minutes began to set in, and chaotic energy streamed through the backstage. Trying to capture the energy while not disrupting the workflow, we found ourselves in a quiet green room. Inside, one of the models, sex symbol and cultural icon Lana Rhoades, quietly practiced her walk in the mirror. Her bashful demeanor as she rehearsed showed the range of feminine expressions that would be displayed in the show. While some models would be adamantly demanding the space they take up in their walks, others, like Lana, would draw us in with their quiet, shy sensuality.
Showtime approached, and the rest of the attendees shuffled into the venue; we made our way back to the front of the house to take our seats. Like déja-vu, the lights dimmed once again, and the show was beginning. The first look, Female Territory, worn by actress-model and friend of the brand Hari Nef, set the tone for the entire collection. She dramatically progressed along the catwalk in a sheer dress, slinking its way out of a traditional pinstripe suit like a snake shedding its skin, collecting prizes on its way up like the men’s watch stuffed into the bosom of the silhouette.
Another look, a vibrant indigo feather jacket paired with a delicate skirt adorned with keys modeled by Dilara’s friend and peer Deniz Tuna, brought to mind the voluminous feathered dresses of McQueen’s Horn of Plenty collection. Such juxtapositions are not uncommon, as Dilara is often compared with greats and fellow Central Saint Martins alums like Alexander McQueen and John Galliano. While such references can certainly be flattering, it is essential to recognize that Dilara is a unique force of her own. She is a woman designing for women. Her relationship with her innate femininity is effortlessly and distinctively translated into her work. In her own words, her designs are ‘a manifesto for a world order born of an unrelenting vortex of femme energy.’
In her pursuit of fashion expressing the ‘divine feminine,’ though, Dilara uncovers something else. Her designs and creative direction bring to light an intensely sinister dimension of femininity. Seduction, sensuality, and domination become tools of empowerment. Why play by their rules when we can make our own becomes the mentality. The final two looks of the collection might represent the consequences of these approaches. In the lifespan of the Femme Vortex, the penultimate look, ‘Question of Time,’ is one of anglicism. White ribbons and lace illustrate an untouched innocence — a naïvety afforded by ignorance and obliviousness. The final look of the collection, ‘Waking the Witch,’ is of a feminine soul weathered by measures it was forced to take to ensure its power and survival. Despite its ultimate beauty, the all-black dress with molten effects and dark feathered details oozes malevolence.
The ability to turn such sinister sensations into awe-inspiring creations of feminine beauty is part of what makes Dilara a designer of a generation. From concept to execution, she perfects and manages every detail without losing any of the mystical energy that her collections emanate. ‘Femme Vortex’ is a collection that will undoubtedly be revisited as we look back on the early career of one of the most significant designers of our time.
Erdem
Images courtesy of ERDEM
For Fall 24, Erdem looks to 1953 for a career-defining performance of Medea by Maria Callas, bringing forth a collection that explores the realm between myth and reality, on stage and off stage, dressed and undressed, person and persona, sorcery and seduction. Standouts included a cropped jacket with exploded square cut collar in black and white herringbone wool with selvedge fray detail, worn with hand-draped wrap skirt in herringbone wool with selvedge fray detail, alongside a Draped mid-length pencil dress with asymmetric cape sleeve in saffron Rossini Rose printed crushed organza cloqué.
JW Anderson
Images courtesy of JW Anderson
Jonathan Anderson’s outing for Fall 2024 continues its creative experimentation of taking the familiar into outlandish territory, bringing forth a collection of opposites: billowing shapes meets cocoon details, toying with the concept of neighbors and the playfulness that comes with the clothes one wears. The collection presented a delightful palette of vibrant hues juxtaposed with a duskier palette, which symbolizes Anderson’s study of contrasts.
16 Arlington
Images courtesy of 16 Arlington
In 16 Arlington’s Fall outing, the hallowed space of the art gallery is transformed into a show venue as the Barbican’s Curve is used for the first time in a runway context. Models appear in a beam of light through the shadows, dressed in black gowns and slippery optical illusion organza, skin-like croc and ostrich leather. Layering breaks new ground: There is a tension between the refined and untamed, the elegance of twill tailoring and fine rib knits, contrasted with the wildness of animalistic touches, with Lynchian chevron patterns forming panels in outwear.
Chet Lo
Images courtesy of Chet Lo
This season, Chet Lo plays with the balance and scale of the brand's iconic spikes. Models run across the hoodie's sleeves' sides, down the back's center, and along trousers and fishtail skirts in columns. A pair of felted wool sarong trousers with spikes along their exterior has a belt, marrying Lo's east meets west influences. Mid-length skirts and trousers have spikes that begin midway and amplify in size. Wool hybrid skirt trousers that nod to the armor's silhouettes and off-the-shoulder jumpers begin in spikes and then transform into ribbed knits that cling to the body.
KNWLS
Images courtesy of KNWLS
AW24 sees the KNWLS woman zero in on her innate severe elegance. Zip-fastened corset in full-grain sea green leather, complemented by low-slung, side-buckled skirt offer perhaps the most confidently restrained riff on the brand’s signature garment to date. With additional iterations in laced, delicately pinstripe denim intimating the punkish flair at the KNWLS protagonist’s heart. Funnel neck jackets, constructed to skim the waist, come in charcoal wool and stony denim. Elsewhere the muted finish informs the graphic markers of back-printed paneled stretch jersey separates.
Burberry
Images courtesy of Burberry
A celebration of creativity, grounded in elegant practicality and billowing staples: Burberry’s Fall outing is evolved through shape and fabric, evoking a feeling of warmth, protection and outdoorsy elegance. Inspired by the landscapes and people of the UK and Ireland and rooted in its premium take on coats production, Burberry trenches appear in moleskine alongside duffle coats and field jackets. Traditional craft and techniques from Donegal to Lochcarron inspire construction, fabric and detailing. “There’s a sense of craft in this collection,” said Lee. “We began in the Burberry archive and the mills of Lochcarron and Donegal. I wanted to take a traditional approach to the fabrics and how each piece is made. Craftsmanship has always been at the heart of design.”
The Old Skool shoe was originally released in 1977, subsequently releasing the third skate shoe after the Vans Authentic and Era emerged with roaring success. 20 years later, the Vans Knu Skool reimagined the silhouette for a new generation. Vans partnered with photographer Ed Tempelton and stylist Veneda Carter to show off the new colorways in Retro Brown and True White paired with bright pink laces. The shoe will be available on Vans.com and Vans retail locations.
