Loewe's Albert York Gallery, Giambattista Valli's Tribute to Lee Radziwill, The new Alexander McQueen & More

Jonathan Anderson's Loewe AW24 show was a creative homage to craftsmanship, set against the backdrop of Albert York's art. Beaded floral bags brought a touch of artistry, while wool coats with wooden lapels fused traditional tailoring with unexpected textures. The standout bell-shaped dresses demonstrated Anderson's talent for merging avant-garde designs with meticulous detail. Reflecting on the collection, Anderson shared, "I started exploring this idea of provenance and why we buy things and why things come to have meaning. The idea of an outsider looking into a world that we don’t experience," adding a layer of philosophical depth to the show's narrative.

For autumn winter 2024, Creative Director Nadège Vanhee delved into the dynamic world of riding sports for Hermès  beyond its traditional equestrian heritage. More specifically, she was interesred in the contrasting realms of motorbikes and bicycles. Vanhee, who personally leans towards the safety of the latter, found joy in navigating the thematic parallels between these two modes of transport. The collection could be described as a liberating exploration, despite the snug fit of the leather ensembles, suggesting a more body-conscious approach.

Sean McGirr's inaugural showcase at McQueen stirred the fashion world, coming on the heels of Sara Burton's notable 13-year leadership (accumulating to 26 years at the firm). The collection was introduced with notes that spoke of "rough opulence" and a deep dive into the primal, featuring elongated silhouettes and textures that seemed to enwrap the body in a knitted sanctuary.

Drawing inspiration from McQueen's iconic SS 1995 "The Birds" show (staged in London in 1994), McGirr aimed to capture the essence of unique, strong-willed individuals one might encounter on the gritty streets of East End, wrapped in an aura of "tattered opulence." While his efforts to channel McQueen's mastery of dark, extravagant themes were evident, the execution resulted in a somewhat overcrowded presentation, lacking the clarity and cohesion of McQueen's original vision.

The transition from Burton's polished refinement back to the raw edges of McQueen's early work posed a challenge, particularly in the outerwear, which seemed to echo rather than innovate upon McQueen's distinct legacy. Among the most interesting elements were a cling film dress, directly nodding to McQueen's SS 1995 collection, and a dress with a "shattered mirror" effect, both intriguing yet underexplored.

The collection's more avant-garde pieces, like the "donkey feet" shoes, might carve out their own niche for their sheer audacity. However, the collection as a whole would have benefited from a more focused thematic exploration, leveraging the depth of McQueen's rich narrative.

Stepping into the colossal roles left by Burton and McQueen, McGirr shared his perspective on carrying forward McQueen's legacy, emphasizing the timeliness and relevance of McQueen's message in today's overly polite society. His debut, while mixed, signals a bold readiness to engage with the profound legacy of McQueen, promising an intriguing path ahead for the storied brand.