Tod’s: ‘We want to remain very luxurious and high quality, but we need to move forward,’ said Tod’s president Diego Della Valle, of the launch of its ‘T-Factory’ project – a series of capsule collections to be created by guest designers, four times a year. The first designer on the roster is N°21’s Alessandro Dell’Acqua, who has brought what he defines as a ‘femininity and contemporaneity’ to Tod’s silhouettes. His collection includes the brand’s signature Gommino loafers reimagined as sling back sandals or as sock boots, alongside glossy leather trousers and trenchcoats, in Dell’Acqua’s signature nude, tan plan and black. ‘It’s been a great honour to design the collection,’ Dell’Acqua says. Photography: Jason Lloyd-Evans
Ottolinger: Surfer-inspired collections have made a splash on the S/S 2019 catwalks, just look to Sportmax, Etro and Emporio Armani. Surf brand-centric floral motifs were a feature in Ottolinger’s S/S 2019 collection, but true to their deconstructionist and experimental form, Swiss designers Cosima Gadient and Christa Bösch’s turned the paradisal print on its head. Models in their spring show (who walked to a live musical performance by female vocalist Eartheater), appeared like surfer’s washed up on an alien island, in fringed, frayed and patchwork tropical prints, spliced denim, and rope tie-detail swimwear. Wherever they’ve washed up, we want to end up there too. Photography: Jason Lloyd-Evans
Germanier: Swiss designer Kevin Germanier is a pioneer of eco-friendly fabulousity. The burgeoning designer, who debuted at Paris Fashion Week last season, upcycles garments like denim and vintage bags and encrusts them with beads using a silicone glue application. ‘I wanted to push the concept even further this season,’ the designer says of his sophomore offering. This features delicate organza dresses with corsets, which are constructed without boning. Instead their embellished shape is held by the strength of Germanier’s silicone glue. ‘It create drapes and is there to help hold shapes’ he says of the gel’s new utilitarian function. Amongst the haute evening creations also appear more casual shapes like T-shirts and jeans embellished with beads and organza ruffles, or fluffy blouses knitted from threads of organic cotton and recycled plastic. ‘There’s a new ease to the shapes’ he adds. Photography: Pablo di Prima
Ellery: For her S/S 2019 collection, Kim Ellery looked to Paul Klos’ conceptual artwork ‘Sound of Ice Melting’, a 1970 installation, which featured eight microphones focused on a melting 12-kg block of ice. At her spring presentation, Ellery evoked this watery inspiration by showcasing her latest lookbook images on boards of ice-like transparent plastic. Her collection was a futuristic take on sculptural 1960s silhouettes, and included sporty metallic silver coats, suits with unusual cuts and crops, flaring ribbed knits and a blazer and trouser two piece with a toile de Jouy dragon print.
Courrèges: The future of our earth has been on the mind of Paris’ burgeoning designers. Just look to Marine Serre’s partly upcycled S/S 2019 collection, or Germanier’s fusion of vintage garments with Haute Couture finishes. When André Courrèges launched his eponymous line in 1964, his mini-skirted vinyl-clad aesthetic was the epitome of space age fashion. Its spring show was also a futuristic moment for the label, as it showcased the debut collection of new creative director Yolanda Zobel. It was a contemporary club-kid offering, all bodysuits, mini skirts and poppered pants, paint splattered jackets and Sixties floral prints. Under her creative direction Zobel has pledged to discontinue the brand’s vinyl in place of a more sustainable fibre. We think the brand’s future looks bright. Photography: Jason Lloyd-Evans
Yang Li: The darkly gothic designer advocated ‘romantic minimalism with a soft punk sensibility’ for spring. This culminated in a S/S 2019 collection in black, white, acid lime and turquoise of gauzy deconstructed tailoring and wispy dresses. The collection also featured embroidery of names of women photographed by Magnum photographer Antoine d’Agata, like ‘Leah’ emblazoned over a transparent turquoise blouse. Photography: Casper Sejersen