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Use your personal account to save ‘favourite’ articles, chapters and books. Sign In now. Sign Up now. Exposed linings, frayed threads, balloon-trimmed jackets, petticoat-style skirts, and subliminal detached sleeves afforded the collection a sense of avant-garde sensibility.

At one, the clothes and invitation were black, at the other, white. These photographs were displayed alongside headless dressmakers mannequins dressed in the collection.

Key trends include circus-inspired polka-dot pantyhose, circus tent striped garments, and surrealism.

It was a mixture of menswear and womenswear with designs fetishizing the human body. Womenswear designs included body-conscious dressing in the form of mini dresses, high-waisted pants, and crop tops in color blocking jersey, star prints, and black satin.

The most prominent colors were khaki, burgundy, black, and metallic gold used on pendants, jeans, and coats. Female models wore hair tousled and pinned high with rouge cheek make up detail.

The collection featured chic dresses and eveningwear in minimalist styles. Colors included black, white, and beige, and the occasional polka dot print.

Models wore their hair short and accessories included oversized silver disc earrings. Bruce presented a collection of sleek, minimalist designs.

Cuts focused on tailoring, featuring many variations on a classic mens’ white shirt and outerwear such as trenchcoats. A mix of grays, blacks, and browns with occasional flashes of metallic and sky-blues created a sober color palette.

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Texture was key to this collection: super soft knits were contrasted with hard leathers and eye-catching sheer metallics. Models wore flat sneakers, natural makeup, and no jewelry.

The final look in the show, an off-white wedding dress with a full silk organza veil, mixed femininity and couture with ease. Accessories featured leather gloves, statement earrings, and waist belts in a variety of shades.

Models wore hair sleeked back, often allowing their earrings or exaggerated hair pieces, such as wide brim derby hats or oversized berets, to be the statement piece in a look.

Key trends include striped clothing, fur, leather, all white clothing, heeled boots, and statement necklaces. Some looks were inspired by men’s suits, with many models wearing blazers, ties, and trousers.

Models had slicked back hair and wore minimal makeup. The show ended with all models applauding Katharine, who walks out in one of her slogan t-shirts.

Emphasis was placed on ultra-luxurious materials, including leather, suede, and satin. The collection recalled the early twentieth-century style developed by Chanel and, most notably, the Chanel suit.

In this collection Michael Kors reinterpreted the traditional design of this suit with an oversized sportswear silhouette – the key look was a strap-back dress worn with a business jacket or an oversized cocoon coat.

The style of the show sat half-way between modern sportswear and subtle Hollywood glamour. The show began with the historical American male figure of the late 19th century, in the form of cowboy hats and waistcoats.

Later in the show Kamali moved to designs influenced by vibrant Persian prints and fluid, glazed fabrics, which brought a sensual touch of femininity to the show.

This collection explores adventure, rebellion, and romanticism and paints a vision of life free of female fashion etiquette.

The show contained a pattern-heavy ensemble of thick horizontal and vertical stripes in beige, red, black, and white.

Bold prints, such as clouds and leopard markings, dominated the middle of the show. Towards the end, bursts of color were amplified by the shimmering effect of sequins applied to silk.

The striking colors and patterns were contrasted and harmonised by the combination of neutral colors such as beige, black, white, and gray and the elegant use of mid-century, tailored pieces in wool, such as, structured blazers, pencil skirts, and wide brim hats.

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Accessories included wide-brimmed hats with contrast trim and flower details. Outfits were worn with semi-opaque white pantyhose and heeled pumps.

Grunge was a major theme for the collection: many designs were characterized by horizontal or zig-zag striped, or plaid patterns, and varied from a tight to loose fit.

Crop tops, T-shirts, long-sleeved shirts, mini skirts, maxi dresses, short shorts, and flared pants were all shown as part of the collection.

At the beginning of the show, many models wore striped hats which were two pointed, containing a knot at the back with a sock-like extension, beanies, or tubed in style.

Unlike the aesthetic typically associated with Japan across the s and 90s, Kansai Yamamoto’s pieces had an aura of eccentricity and theatricality.

We may from time to time change the terms that govern your use of our Site. Forever 21 reserves the right to assume the exclusive defense and control of any matter subject to indemnification by you, and you will not in any event settle any claim without the prior written consent of Forever Shape burgundy halterneck lace tie back bralet video By accessing or using the Site you agree to be bound by these Terms. Printed atop layers of habitual silk to suggest the pages of a notepad, they balanced lightness and graphic impact with the skill of an artistic adult and with the creative imagination of a child.

The show featured avant-garde kimono influenced designs, which revived a sense of eastern traditionalism, and religious motifs.

This collection alternated between hyper-feminine and hyper-masculine silhouettes.

Joe Casely-Hayford’s Autumn Winter show took place in London and consisted of a mixture of menswear and womenswear. Shape burgundy halterneck lace tie back bralet video There was an emphasis on plaid, which had become popularized by fellow designers Vivienne Westwood and Malcolm McLaren.

Influenced by an Italian take on a ‘s saloon masculine pieces, such as oversized pinstripe suits with protruding shoulder pads and wide-brimmed hats, contrasted feminine garments, such as delicate lace bras, passionate red roses, and sensual fishnets.

Accessories were opulent and included; wide-brimmed hats, monochromatic polka dot ties, oversized gold jewelry, leather boots and waist belts, opera gloves, and thigh high fishnet stockings with lace tops.

Navy blues, white, blacks, and creams were the collection’s predominant colors, and were interspersed with playful polka dot prints and pastel hues.

Supple knit pieces and structured woolen blazers rounded out lines and balanced delicate floor-length silk gowns that were lavished with beading, sequins, and embroidery.

08.03.2020 – The show is continued with a Latin twist as models show off sophisticated eveningwear in black with touches of gold and silver that progressed to dramatic formal dresses in gold, silver, and orange. For further assistance, contact us at for U. You agree to receive automated calls and text messages from Forever 21, our agents, affiliates, and independent contractors even if you cancel your account or terminate your relationship with us, except if you opt-out see below.

His stylish yet simple swimwear, seen halfway through the show gave a breath of fresh air into the collection, as were vibrant, youthful, and colorful with innovative fabric use.

Keys garments included tailored jackets with shoulder pads, cocktail dresses and two tone drop waist mini dresses, and ball gowns with satin A-line skirts.

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Autumnal color schemes featured heavily throughout, particularly greens. Sequined and metallic garments were also a heavy feature of this collection. This collection demonstrated Roehm’s iconic preference towards aristocratic looks.

Designs were consistently feminine and made from luxurious fabrics, and featured a variety of coats including cape, circular, short, long, fingertip-length, hooded, and swing.

Showstoppers included short mink coats with accentuated square collars.

Accessories included cloche hats in a variety of muted tones and silk scarves in green, gray, brown, black, and, army green stripes.

The collection achieved style and elegance through her trademark shoulders, sleeves, construction and lines. Most ensembles looked to downtown New York for inspiration, belted collarless taffeta jackets paired with generously cut pleated pants and skirts.

Alternating between playful prints and elegant color blocking, Herrera offered a balance of flirtatious practicality in the form of suggestive silk sheath dresses.

The finale, perhaps more contemporary than some of her past designs, was a bridal look of light brown pleated taffeta paired with a delicate lace veil with scallop trim.

Models a relatively natural look, a red lip paired with a sleeked back blow out. The show featured tone on tone looks in pastel colors such as sky blue and beige.

Oversized capes, cable knit sweaters, and wide leg pants ran throughout the collection. Accessories include aquamarine and beige scarfs with fringe details, beige or black bowler hats with ribbons, red leather bumbags, and brown leather laced shoes.

Female models had natural hair and makeup, the hair was brushed back and straightened, whilst the eyeshadows matched the pastel outfits.

Fashion critic Suzy Menkes was filmed in the audience. The low backlighting and impactful music set a precedent of drama that carried on throughout the show.

Minimal accessories were shown, and included circular earrings, straw hats with square wide brims, cloth pearl necklaces, chiffon scarves, and frame handbags.

The prominent silhouette for the collection was simple, flowing and unconstructed, floating in the air as the models walked down the catwalk. Viscose oversized shirts and pants in a pastel palette of beige, sky blue and white are paired with oversized faux fur white coats.

Later, suede jackets were worn with wrap shirts, and long ruffled skirts. White silk blouses with bishop sleeves were paired, in the latter half of the show, with dark green lurex shorts.

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Accessories included brown Mary janes, gold or silver metallic sandals, as well as round oversized black sunglasses. Makeup and hair was kept natural.

The collection featured a range of tailored suits and dresses in white, tonal grays, and black styled with leather gloves, leather baker boy and cloche hats, and riding crops.

Kors also presented a number of brown worn-leather trench coats and a variety of knitted sweaters in black and gray. Towards the end of the show Naomi Campbell and Carla Bruni showcased full-length black eveningwear dresses worn with opera gloves.

Instead, delicate lace, crisp organzas, sleek satins, and rich taffetas emphasized an old-fashioned glamour. The finale, a precision of graceful ballerinas in polka dot silk tulle tutus boasted a sense of playful ostentatiousness.

The show’s closing demonstrated a perfect balance of both elements by showcasing a crisp bridal look of patterned silk-organza complete with floor-length train.

The event was held in Central Park, and models walked, or jogged through the park next to the lake while the crowd watched.

Trends included a variety of retro s and 30s styles; s inspired leather fringe garments; exercise gear, and bodycon dresses. Models occasionally held up paper signs of what their ‘look’ was, for example models wearing dresses with flowing skirts of khaki green, and gray held a sign saying “Earth Children.

For the finale, all the models in the show walked back the route they came from through the park. Yohji Yamamoto first appeared on the Parisian fashion scene in ; he challenged Parisian fashion at the time by designing garments that were voluminous and monochromatic.

The show paid homage to the Victorian era and wartime, times at which the line between womenswear and menswear was blurred. Three-quarter length jackets that fit loosely over the shoulders or with a fitted bodice featured throughout, often with a flaring coat tail worn over a full skirt.

These looks disguised the body rather than accentuated it and directly contrasted the sharp, geometric pieces seen towards the end of the show.

The collection showcased accordion pleated silk shirt dresses and a variety of petal-like silk organza dresses in pale blue and baby pink pastels.