VICTORIA’S SECRET FITTINGS: Another @victoriassecret beauty has left the building. This time? Meet lovely @aidencurtiss, who will walk in the Victoria’s Secret Fashion Show for the very first time this November. Not a surprise, really - her mother was legendary supermodel of the world, Katoucha Niane. She’s going to be huge. And, fun fact: the first ever show Aiden walked in she was styled by our very own Editrix-in-Chief, #SophiaNeophitou. She’s family. Watch the film and see more from the series on 10magazine.com - link is in bio…
BYBLOS: “A female manga spirit split in two,” said the press release, which, after admittedly initially misreading as “mango” (long day) realised that this was actually about those Japanese comics that people get totally obsessed with, the collection an ode to those power ladies who reside within their pages. Centre here was the obi (as in the Japanese waist-fastening) here looking a bit like a karate belt to give shape to mini-dresses and skirts that nipped the waist. But this was about contrast - those more controlled shapes giving way to prettier, hyper-feminine lace gowns that revealed the girl’s bodies beneath. It was all whipped together with Byblos’ knack for colour and print - here, zingy lime greens were calmed with white and black, prints were magic-eye geometrics or echoed the stroke of a lipstick.
Photograph by @jasonlloydevans#Byblos#LFW#10Magazine
1 288 2
GUCCI: Lost for words. Well, not quite, how about: opulent, transporting, 1980s, thoughtful, exciting, perfection? That’ll do. Obviously referring to Alessandro Michele’s latest @Gucci romp, held in the brand new Gucci Hub amongst a *deep breath* modern re-interpretation of an ancient map featuring Roman poet Orazio’s country home, the Imperial Forza and a catwalk to represent the Tiber river. Yeh, us neither. But it was impressive. Movie set style. Out stomp our models to equally stomping music and a bit of a light show (ooh-ahh, etc) and trail past us in a glimmer of beautiful “stuff”. Stuff because there doesn’t seem a much more appropriate word for the amount Mr Michele sends down the catwalk, but we’re firmly of the opinion: more is always more and Alessandro always satiates our greed for beautiful things. I’m always reminded of that Diana Vreeland quote that goes something like: give them what they never knew they wanted. Things that once seemed unappealing now become need-this-now under Mr Michele's deft touch - a brocade Liberace-esque tracksuit with lurex trim? Uhhh, want. A top made from entirely from rainbow of paillettes, worn with a striped handkerchief hem-skirt, diamante studded tights and a Strictly Ballroom heel? Yes, YES. An embellished leather mini with beefy shoulders and a monogram bumbag to cinch the waist? A crystal helmet? A sunglass with a single plastic tear? Nuts, yes, but totally beautiful - a living breathing testament to the statement atop the press release: “the act of creation as an act of resistance.” But it’s not pure fancy - picked apart there was plenty to wear - a new focus on tailoring, baggy, totally wearable - sweet knitwear, softer chiffon gowns and tonnes of cracking bags and accessories. Like the show title, a hypnotism - clothes to fall into a trance and no longer be responsible for your actions. Blame the Gucci.
Photograph by @jasonlloydevans#Gucci#AlessandroMichele#MFW#SS18#10Magazine@lallo25
TOMMY HILFIGER: Rock Circus was the name of @tommyhilfiger's London outing. Which we're going to call a bit misleading, because this was actually a fashion celebration of music's subcultures, from the 1970s to, well, today. Think of this as your Spotify playlist in clothing form. A Sister of Mercy coat with a Wu Tang sweatshirt, a Spice Girls hot pant, a low-slung TLC bare hip with a Marilyn Mansun PVC pant replete with easy open zipper. All that's missing is a nude Lil Kim logo moment. We didn't have that. But we had Gigi. Who wasn't nude, or Lil Kim, but she's practically rock and roll royalty isn't she? She's dating Zayn Malik. Could she be the Bianca Jagger to Zayn's Mick? Will she be trotting down the catwalk on a white horse? No, this time she just walked, on her legs, but maybe next time. The Hadid dynasty was also well represented by sister Bella and brother Anwar, so it was all a bit of a family affair. Plenty of other nu-supers too. Devon, Sara, Hailey et al. Call it a Glastonbury of beauty. With Tommy as the headliner. And what better way to close out London than that? See you in Milan.
CHRISTOPHER KANE: House coats and slip dresses and something approaching a peignoir: welcome young man to the world of suburban sex clubs and soft core fetish.
Step inside @christopherkane's saucy world for spring where shiny ciré skirts are worn with satin blouses and debs in cocktail frocks sup sweet champagne in black patent gloves. All the better for some serious spanking. Divine gem-encrusted cut-out cardis and gorgeous pink ones too are pulled over soft slips and daring nighties. She's the kind of woman who invites the milkman in and charges for the privilege.
Naughty Christopher channelled a secret and suburban world normally hidden behind net curtains, where men pay for a lady's attention and the lady looks divine doing so.
And was that a dress that looked like something worn by a maid? Indeed, sir! A prostitute's maid.
Buy Personal Services starring Julie Walters immediately for more: a tale depicting the life of infamous madame and brothel keeper Cynthia Payne (Madame Cyn). Spanking games for naughty boys essential!
Photograph by @jasonlloydevans, text by @richard_gray#ChristopherKane#LFW#SS18#10Magazine
3 843 2
ROKSANDA: Colour so good it’s edible. You want to eat it. Candy shop-shades of cerise and red, yellow and electric blue sit alongside a palette cleanser of pure, bridal white. @roksandailincic always feels super polished. These clothes look expensive, glam and you can imagine exactly the type of women who would wear this stuff (clue: she’s fabulous). Take note: shape of the season so far is the ruffled smock. It’s come up again and again, but Roksanda is doing it better than most - loose, dropped-shouldered and A-line, falling away to a ruffly hemline, full of volume but light as a cloud. Plays on volume all the way through, actually - big bell sleeves on blouses and dresses came into a tight cuff, whilst tailoring came long, sleeveless and roomy, secured at the wait with rope fastenings. Silky ruffled blouses worn with high-cut trousers suggested the 1970s, so too the jewel-tone silk dresses, worn with swingy flared pants beneath. Fantasy gowns to finish - layered tulle creations, covered in delicate flowers. Very pretty indeed.
ANTONIO BERARDI: Topical *and* political: the show notes left on our seats at the @antonioberardiofficial show were simple and to the point: a quote from Roosevelt reminding us all that we, too, are all immigrants somewhere in our family timeline.
And this was the starting point for Berardi's divine spring collection, which he based on the experience of his parents as Italian immigrants to the UK. "It was about making something out of nothing; of looking your very best with no money," said the designer of his family's reappropriation of old clothes, which they cut and spliced and re-sewed into new garments for a new life here.
This meant intricate and beautifully tailored nip-and-kick jackets belted or buttoned in myriad fabrics: sections of Prince of Wales check and voile came together in sexy tight patchwork silhouettes; trousers too were cropped short and kicky and when worn with the jackets as suits felt like a new approach to power dressing - sexy and linear; beautifully aggressive. A structured skirt suit, with the back slashed at the centre seam, was held together with a criss-cross shoestring and resembled an Admiral's epaulettes.
Sportswear was dissected and reissued too, as a hooded poncho came re-spun in a gold daubed fabric for a fresh take on evening, an area Berardi has made his own. One quick look, above, at the red new-way for nighttime looks proves the point.
Much of the collection was teamed with sharp dom-style patent boots, some lace front others just simply "in charge". Of the intricate faux lace gloves skilfully painted on the models' hands in black and white, said Berardi "its illusion, its about looking your very best." These surely the perfect allegory for an incredible and moving show. His family tell us they are very proud.
EMPORIO ARMANI: Stream these films immediately: Mystic Pizza, Sixteen Candles, Pretty in Pink. Tragi-excellent American high school films celebrating simpler times, where girls dressed up in shiny hi-tops and bombers to flirt with boys in sporty cars.
More of this later.
Mr @giorgioarnani is in town, a self-confessed Londonite and staying at The Beaumont hotel. Spot him in Idea books buying the rare first editions that you can't afford or pouring over choice pieces of architectural salvage at Lasco - he's got houses to fill!
The reason he's in town? Not shopping! Showing! His new spring Emporio Armani offerings here at Tobacco Dock, Wapping. Yes, Wapping has never been so chic.
On the frow? Anna (as in Wintour), Edward (as in Enninful) Liam (as in One Direction / Cheryl's baby-father)
The clothes? Pastel confections that ran the chiffon gamut of sports-luxe to she-boss suiting to cricket knits. Add some sparkly trainers into the mix and some gorgey straw boaters via a punt down the Cam and all the above '80s films and you're there.
Spotted backstage: everyone and his fashionable dog there to congratulate the style maestro on his made-for-London wardrobe.
At the point of writing this, the afterparty was only just beginning. Rumours of '80s band A-ha making a surprise performance were swirling. For cool types high on nostalgia and champagne it doesn't get any better. Chin chin.
Photograph by @jasonlloydevans, text @richard_gray#EmporioArmani#LFW#10Magazine
2 316 2
TOPSHOP: In no particular order: Soho, nightclub, marabou, bustier, supermodel. So far, so us. Now, we could delve deeper into the inspiration - Corinne Day, Madame Jojo's, Revuebar, the days before Instagram - but, quite frankly, all you really need to know is: this is @topshop doing what Topshop does best - namely, creating mega clothes that girls really want to wear, and will wear. Sooner than you think - the clothes went on sale straight after the girls left the catwalk on Topshop's website. So what will you, inevitably, be wearing this season? This girl's a party girl. Nothing quite says party girl like a white trouser and a diamanté belt, same goes for a sheer showgirl mini covered in come-to-bed marabou. Something of the 80s working girl, too - acid coloured tailoring that was pitched at the shoulders, super-tight leather pencil skirts. Feminine touches came in baby doll shades and sheer ruffles, a toughness in foiled leather overcoats and matching pants, or the double-denim and personalised tees that the models took their final bow wearing. Call them clothes to party in - or, alternatively, just stay in and admire yourself in the mirror.
VERSUS VERSACE: A distinct whiff of cowboy at @versus_versace today. Cowboys at the beach? How else to explain the appearance of a speedo with “VERSUS” spelt out in diamante on the behind? If anyone can get away with it, it’s Donatella. The lady herself talked us through the collection on Friday, telling us that the collection looked back to the nineties, and the old Versace Blue Jeans perfume bottles, with the guitar-strumming cowboy on the front. So her team made an entire collection based on the tropes of the cowboy - the yoked shirts, the studs - but she decided, last minute, she wanted to rip it all up and piece it back together. It meant that the clothes here were stitched together like a collage - panels of duchesse satin with exposed stitching, tailoring cut into v-shaped chevrons at the back, mesh mini dresses with studded cowboy panels. "Versus is about individuality, bravery and pleasure,” she said. "This is for everyone who dares to express themselves in everything they do.” And where better to hold a show about expressing yourself than the hallowed halls of Central Saint Martins? Donatella said most of her team studied there - so today’s show came with the announcement of the Gianni Versace scholarship, giving full financial support for a student starting the MA program this Autumn. Here’s to a new generation.
ROLAND MOURET: "...trends come and go but a strong silhouette is timeless," said @roland_mouret of his thoughtful and beautiful collection just.
Taking over the brutalist National Theatre building on London's South Bank, a hub for the creative arts, Mouret gave an ode to a womanly shape.
The skill and technique of the designer's "pin and drape" dresses is certainly unparalleled in the capital. Certain of these, and tops too, had a sense of undress: a shoulder on a beautiful frock cleverly held in place without "falling off". Where had the woman come from, a saucy rendezvous with a secret lover?
Mouret seems to understand a woman's body like few designers and he is deft at celebrating the form with imaginative and origami-like folding techniques using a series of clandestine "stitch networks" to create silhouettes that follow and flatter and sometimes dramatically change the line. This is very clever stuff.
One snappy and stretchy orange dress was sublime but take the eye up to the shoulder straps: two straps became four and a brand new neckline - dress engineering.
His studio, based in the capital, has garnered a reputation for delicate beading and handiwork; one section of the show had squares of net stitched with quilted flowers with elongated petals and strewn sequins and the craft is equal to any of the Paris ateliers.
MARY KATRANTZOU: Few women (or men, for that matter) could convince us to raise ourselves from a state best described as “recently deceased” and haul ourselves to central London of a Sunday morning, but luckily, @marykatrantzou happens to be one of them. I’m going to diplomatically say she’s out second favourite Greek power lady, I would say first, but Sophia might fire me. Either way, we love Mary. Today, it was about looking backward. All the way back. To childhood. Wasn’t that a wonderful time? On the notes Mary quoted that thing that Picasso once said that goes something along the lines of: “every child is an artist,” Mary describing the "unbridled creativity” of children as the starting point of the collection. There was colour - brilliant paint-by-number prints, which did exactly what they said on the tin - some with dashes of Crayola, or Lego, yellow, red and cerise, with the monochrome numbers revealed beneath, others where the gaps were filled with shiny sequins. There was a roundness to the silhouette - dresses and skirts falling awash to a voluminous bubble hemline, gathered at the waist with toggle fastening - Mary referencing balloons and the great outdoors. And childlike too was this collage of fabrics - lightweight technical fabric met delicate hama bead embroidery, dresses morphed into panels of scuba from the chest up. It ended with a series of mighty fabulous showstopper gowns, and probably just about as close to haute couture as this city’s ever going to get. Such gowns would make a good alternative to real children. Because children are really quite annoying, and a pretty dress isn’t.
Photograph by @jasonlloydevans#MaryKatrantzou#LFW#SS18#10Magazine
4 511 2
BURBERRY: Question: is there anything more British than @burberry? Apart from maybe a crumpet. It’s very British. Burberry is also posh. And definitely still is posh. But this time, a little less posh. Not in the quality - no, don’t get us wrong - rather, this season Christhopher Bailey seemed to take Burberry down a little bit closer to the street. Which meant the Burberry check is back. Remember when people thought it was naff? They were wrong. And are wrong. Here that iconic print was on caps and, well, pretty much everything else - a wink back to the counterfeit culture that Burberry pretty much set in motion. Those checks were worn with these great semi-sheer raincoats, a very modern take on a Burberry mac - they looked brill, and very now. It’s hard to cover such a massive show in a short chunk of text - but all you really need to know is this was an exploration of different British tribes, and the clothes they wear, sitting alongside the exhibition of British photography that will continue at the venue the week after the show. Which allowed a play on British tropes - argyll checks, tartan skirts, shearlings, hunting-style filets and jackets, nostalgic lace, some great shrunken and patch-worked knitwear. But far from being pastiche, or costume, it looked very desirable - young, modern, wantable. AKA We want it all. One last thing: forgive us if you were familiar with a few of the pieces - we previewed the collection in the latest 10 and 10 Men, out now. Buy that, and then buy the collection. It’s on Burb’s website like, now. Fresh off the runway.
Photograph by @jasonlloydevans#Burberry#ChristopherBailey#LFW#10Magazine#KaiaGerber
5 1,219 3
PORTS 1961: Find a full-length mirror immediately: look into it, look at your clothes.
Think: am I happy with what I'm wearing? Am I happy with my wardrobe in general: does it work? Moreover does it work *hard enough*. To ascend to those luxurious heights of a wardrobe that really works, that gives you something to wear for every occasion, is nigh on impossible if you've not got the cash. Lots of it; like it's coming out of your ears.
Just then at @ports1961womenswear designer Natasha Cagalj gave you and us so many things to wear to so many occasions. Whilst, at the same time, not creating anything that will date as soon as you walk out of the door.
In reality, this meant blazers (the white one over any dress for evening), the roll-hem skirt (for when your coolest friend is actually a frenemy and clocks everything you wear so you've got to look better but not look like you're trying - hate that cow). And the most brilliant gingham house coat that would be a gorge-y dream when worn with knackered jeans and any of the slingback perforated leather shoes. And the slightly fluted skirts. And everything else.
Unfortunately tight space prevents us from listing too much. Let's just say: there was a lot.
Photograph by @jasonlloydevans#Ports1961#10Magazine#LFW#SS18
2 347 3
SIMONE ROCHA: @simonerocha_'s shows are always accompanied by a crib sheet of notes that break down the show into easily digestible pieces. Which is nice. Red dolls. Suspended weight. Hand-painted flowers. Silk tulle. Collapsing frills. Comfort. Fragility. Made by hands. They spoke of a femininity that ran through the collection -it began with bridal white - ruched smock dresses with a satisfying volume, or washed silk slim gowns that sat flush to the body, looping at the sleeve with bows. And though there is always a sense of fullness to Simone's silhouette, there was a lightness, too - layers of delicate sheer tulle, delicate floral lace and then beneath, stitched beaded dolls in red, the same ones embroidered on to the paper invitation. But at the heart of all this is beauty - the intricate detailing, the lightness of Simone's touch. It is thrilling, tear-jerking fashion brilliance - and Ms Rocha brings it season after season. Bravo.
Photograph by @jasonlloydevans#SimoneRocha#LFW#SS18#10Magazine
1 415 2
MOLLY GODDARD: The @mollymgoddard girl is just like us this season - namely, she may or may not have a drinking problem. The doctor’s told her that she's drinking too much, or so the story, direct from la release, goes. Now she’s only drinking in front of a mirror, or, alternatively, as she did today, trouncing down a runway. That’s what lovely @ediebcampbell did, first out, glass of champagne and hoofing away on an e-cig - a woman we can get behind. So this was smock-y. Or “wench-y” and *something about milking a cow* according to one, here unnamed, member of Team Ten, but he/she really did mean it in a good way. Volume was typically large - baby-doll smock dresses in simple cotton looped down low on the back, some worn with slim cigarette pants beneath, the same shape echoed in full skirts and flarey tops that fastened at the back with bows. Add in a few of those knockout Molly tulle creations, some glittery bits (“nice to see some sparkle at the party” - Phoebe) and, more simply, colourful striped knitwear and sensible apron-like skirts, secured with tie fastenings and you’ve got a very good collection indeed. Proof? The pure joy on the faces of those model’s lovely faces. They love wearing Molly's clothes, and we would too.
Photograph by @jasonlloydevans#MollyGoddard#LFW#SS18#10Magazine
4 607 4
J.W.ANDERSON: The problem, the really big problem and worry and the thing that keeps a designer up at night is what's next?
And the pressure is certainly on for somebody like @jw_anderson. He is expected - every season - to rethink and reissue; to surprise us and keep us shopping. Ideally, a fashion editor should walk out of a show and say "I want". Better still "I need". And we did.
This in the car straight after the show:
Phoebe (straight to the point, divine): "Dead easy, so much to wear; I like stripes again. I think I've found my new wardrobe." Jack (always clocks the details, super gorge): "I like it when J-dubs plays with states of undress: covered up - full sleeves, long skirts. And half dressed - apertures in skirts at the side; you see a bit but not everything. Then all that attention around the neck: scoped neck to a slashed neck, to a v deep v to some serious off-the-shoulder." Richard (overweight, very funny, bright): "Car crash! In an amazing way: a vital, smashing together of every day clothes to make them special: a knitted polo became a dress! Tea-towelling - or some fabric meant to look like a tea towel - reissued as a frock! He's kind of asking 'what's luxury anyway? It's everywhere!' Oh, and I really like those soft flow-y dresses that you could treat like a playsuit.... shall we go to the pub?" Photograph by @jasonlloydevans#JWAnderson#LFW#SS18#10Magazine
3 481 3
FASHION EAST: Mama Lulu's latest crop of fashion hot shots showed their wares on Charing Cross road this morning. First up, @supriya_lele. I want to call this trash to treasure. Not that there was any actual trash, per se, rather the way that raw cut PVC and bin-baggy fabrics were refashioned into slinky skirts or strapless ruched dresses that sat over oversized cotton t-shirts. Supriya's heritage is Indian, and here, a hot pink dress was reminiscent of a draped sari, exposing a slither of skin and worn with crystal jewels that sat around the upper arm. @asaitakeaway also drew on his heritage, Chinese, creating a collection that clashed archetypal pieces - jeans, a trench, a bomber with Western stereotypes of the country. Rubber boots in Ming vase blue and white were painted with dragons or goldfish and Chinese jacquards were used to make roomy trousers that gathered at the ankle, or straps that criss-crossed the chest. Symbols of Britishness were unravelled, like a Burberry-esque check that fell away into trails of thread. Finally, the brilliant @babbym, who talked about his designs being a matter of balancing the desirable with the frankly revolting. Nothing revolting here that we could see - but it spoke of his ability to mix good and bad taste, or in his words, taking something gross and making it good. Here, lurid knits were patchworked together, the drapy, disintegrating silhouette echoed in spiderweb fabrics in gold. Something orthopaedic too - clear cast-like armbands and shin-pads, strapped to the models with utility straps. It sounds wrong, but it was really quite right, very right in fact - and that's what Matty is so good at, and why he gets the best models in the business. Congratulations to all three designers - you're all very good.
RICHARD QUINN: La Neophitou loved. *Lurrrved* "Get it up everywhere, gorge," she phoned into HQ this AM. And it was very good. @richardquinn1's a fine young talent, you see - the CSM-grad taking maximal, couture like shapes and warping them to create something wholly more unsettling. Today's show was in @libertylondon, and so he worked with ten liberty prints, the fabrics wrapped up into hefty ball gown shapes, mixed with gathers of shiny foil and veil-like headpieces that sat over the model's faces, stitched with the word "Liberty". Floral dresses, that sat just off the shoulder, clashed with floral print gloves and face-covering bodysuits. It felt like an almost an explosion of richness, reminiscent of Galliano or McQueen, which is really quite good company, is it not? The pieces will be available to buy in Liberty to celebrate the reopening of their womenswear floor. Guess who's going to be first in the queue?
ASHLEY WILLIAMS: She’s giving up meat. And dairy. She's been drained, floated and emoted. Evolving towards the greater good of mankind. Wafted her sage stick about in a bid for a higher state of consciousness. Spiritualised, veganised, cried, died and did it again on a pagan shrine. Get the point? The @ashleywilliamslondon's girl is draining herself of negative energy. But that's all quite boring, is it not? One night out on the Sunset Strip and she's back to trash bag again (her words, not ours) - because, as the press release says, you need to "detox to retox." So think of this as earth mother meets jockey slut (her words again). A girl with good intentions, gone bad. So what, you might ask, is she wearing? Hiking sandals. Woven basket hats. Tie dyed denim. But all mixed-up with party girl tiger stripes. Eighties dresses pitched at the shoulders. Power suits. Sparkling hair clips, reading "misery" and "hate." Ashley's girl's a bit of both.
RYAN LO: @ryanlostudio is tiring of kawaii, apparently. He's feeling all grown up. His girl is trying to be a lady for a change, trading in cute for timeless, apparently. But enough of us regurgitating the press release, what did this mean in clothes? Well there was sort of a whole wedding funeral thing. Colour palette of bridal white and funeral black. Still plenty of fantasy, though. Started with two-sets, a bit Chanel-y, in black or white jacquard, with flared skirts and worn with Doc Martens and piles of boater hats. Gloves were frilly, and top hats came with full-length lacy veils. Ryan's typical brand of frou frou girlishness came through in ribbon bows and floral detailing, while bridal gowns came in layered tulle, accented with splashes of gold. Girlish too were the touches of blush peach and pale blue, tones that Ryan called regal - a bit Princess Di, and a celebration of him getting British citizenship earlier this year. So now all that's left to do is find a man to do it in. By do it, we mean get married. Or, alternatively, make like the Ryan Lo lady and just marry ourselves. She's no longer looking for love, apparently. She's her own white knight. Girl power.
Photograph by @jasonlloydevans#RyanLo#LFW#SS18#10Magazine
Thank You So Much @laura_weir for including our Editrix-in-Chief Sophia Neophitou in your ES 100 Fashion Power List (top editors section) what an absolute honour really wonderful a million thank you's out TODAY in the new and super-cool @eveningstandardmagazine Fashion Special. They've got the gorgeous and incredible @slickwoods on the cover!!!
10 387 6
MARC JACOBS: This was beyond. Which is kind of stating the obvious, we suppose, because it's @marcjacobs and isn't he always bloody brilliant? Spesh when it comes to serving up a cracker of an NY closer that's totally worth the mad rush to the airport afterwards. Started dead on time (almost - 6.03pm) in a stripped back Park Avenue Armory with just a single row of chairs around the outside edges and a soundtrack of, well, no soundtrack at all. Silence. Marc entitled this collection "Somewhere" - a collection that came from a journey into his own imagination over the summer while his friends were on vacation. And the good thing about starting a collection in your head is you can really go anywhere - here Marc meshing together eras, "twisting fantasy and reality" and conjuring up, as he said, "a reimagining of seasons past somewhere beyond the urban landscape of New York City." Which meant sportswear. Sportswear made decadent. Opulent sequinned gowns that hung just off the shoulder and worn with luminous floral boas were mixed up with oversized Town and Country checkered suiting, cinched at the waist, big varsity jumpers and sensible sandals, all the way back to again to silk gowns that were expertly twisted and wrapped around the model's bodies, opera gloves and jewelled brooches. Other accessories had a Seventies tinge - nylon bumbags that sat on the waist, heftier gym bags or messenger bags, imprinted with a rubbery retro Marc Jacobs logo. There were turbans, different ones, inspired by Kate Moss' iconic Marc Met Ball look, where she insisted, in a way only la Moss can, that she wanted a turban to match her dress. Here, they twisted above the model's heads, part Nubian princess, part Park Avenue grandma. They were worn with Diana Ross-style kaftan dresses and silk smock tops, the vivid prints suggesting, as the whole collection did, both the familiar and the exotic, the far off. There was a lot more too, of course. And we could go on. But we won't. We have a plane to catch. So over and out from New York. See you in London.
MICHAEL KORS: Easy glamour. Glamour is fabulous. Tie-dyed sweater dresses, wide-leg pants printed with palm fronds, floaty bits of chiffon, slouchy jumpers, lua-girl leis. All that stuff. "Manhattan to Malibu... Beverly Hills to Bora Bora... Spring 2018," @michaelkors said via the pre-show notes, summing up the collection as "all about ease." Which meant for his latest Michael drew on kimonos, pyjamas and sarongs for an easy, roomy silhouette that sort of twisted and wrapped around the body as if thrown on post-plage, offset with oversized, mannish tailoring that sat on top. It all came in a palette of soft, washed-out shades - pale pink, lilac, cream, white and surfer blue. Michael called it "barefoot glamour," which we quite liked. But, for those that don't dare to bare (their feet) why not slip them into one of Michael's croc leather flip flops instead? Wouldn't that be luxurious?