Telfar Is Finally Getting the Praise He Deserves

When the finalists for this year’s CFDA/Vogue Fashion Fund were announced, it was big news. Not only because of the presumed influence of the program which is an indicator of which emerging American brands are of note but because of the diversity of the brands chosen.

Of the ten, four were labels headed by black designers and three were led exclusively by women. Monday night Telfar Clemens, the Liberian-American designer from Queens, New York took home the top prize with Becca McCharren-Tran, founder of the inclusive swim-based brand Chromat, tapped as one of two runners-up.

Clemens, however, is not a new designer by any stretch.

Having founded his label in 2005, he passed that benchmark long ago. Neither is he buzzy in the way the word is typically used in the context of this competition. His success has been predicated on over 12 years of putting in the hard work, working in spaces long before the rest of the industry had caught on and continually progressing from there.

This isn’t a “trendy” or timely upstart. The fact that the “establishment” has finally caught on is just a cherry on top. But let’s be clear: 2017 has been a big year for Telfar as a brand.

When Solange presented herself as a performance artist with her private show at the Guggenheim this year, she chose Telfar. To celebrate their 95th anniversary, White Castle wanted to redesign their uniforms, they chose Telfar. Clemens bet on himself just last month when he expanded the label to childrenswear. And even last year, when the Berlin Biennale needed someone to take over, it chose Telfar. There is a clear demand.

The Telfar aesthetic is one of experimentation. Since its beginnings, long before it became an industry trend-turned-staple, Clemens staked his name in the genderless sphere. But that was quickly discovered to be only an aspect of the brand.

The designer was also interested in deconstructing ideas and notions and splicing them back together, reworking commonly understood beliefs about clothing in pursuit of newness. To cap it off, he had no particular allegiances to the way fashion dictated that success was to be had. He made what he wanted to, showed it how he wanted to and seemingly didn’t care if people didn’t understand.

I’ve spoken to Clemens on a few occasions and each time it’s clear that he knows he’s operating on the cutting edge of fashion, exploring ideas before the rest of the industry catches up. But such is the legacy of queer men particularly those of color.

“No one is ever ready for a thing that I would put out when I put it out,” he told me when I interviewed him for Vice once. “And that’s cool for me, but it’s like two years from now, that’s popular. And it’s not necessarily popular based on me, but it’s just that now people are ready for it.” That idea mirrors one that Vivacious believes in, saying that gay is an acronym for “generations ahead of yesterday.”

“To me, it’s not an issue, it’s an advantage,” Clemens continued. “It’s like I could put out something now that I put out in 2009 and it will sell, but the people who follow me are going to know I did it already.” And so, he presses on, leading the charge.

Currently, the designer spends half the year in China working with a design team and studio he has built there over the past two years and the rest of the year in his New York studio. The designs that emerge from those studios can be found in his recent exclusive capsule collection for Century 21 as well as on the backs of the likes of Kelela, Big Sean, and Joey Badass, as well as more than a few of your favorite New York nightlife queers.

But with that $400,000 cash prize for winning the Fashion Fund and the industry finally behind him, it’s likely you’re about to see a whole lot more of the brand.

“I like to confuse what you think is fashion and what you think is cool and what you think is current,” Clemens once told me. “I want to completely fuck that up.”

Well fuck me up sis.



Photo Courtesy of Elijah Dominique/MADE

instagram.com/telfarglobal

Gay Siblings The Zakar Twins Are Here to Teach You How to Take the Perfect Nude

The Zakar Twins, the gay Iraqi social media stars who are constantly teasing the audience as to whether or not they’ll hook up, are here to teach us all how to take the perfect nude.

As usual, the video of brothers Michael and Zack toes the line between titillating and disturbing.

The Zakar Twins have made something of a career playing off their will-they-or-won’t-they vibes. The pair recently appeared on Comedy Central’s Tosh.0, where Zack said “We haven’t had sex with each other. Not yet.”

Though the two have no problem baring all in front of each other for this video, in the past, they’ve expressed some level of discomfort at peeping each other’s bodies.

Zach told Daniel Tosh that he “saw Michael’s dick once and I was uncomfortable. I think I went back in the closet just a little.”

But hey, sometimes you grow up and you get OK with seeing your brother naked, right?

Please Crowd-Fund This Trans-Friendly Shoe Line So I Can Wear Them

When you’ve got larger feet, finding the right pair of heels can be a minefield of compromises.

The cutest styles start to disappear as you walk from the size 8s to the size 9s, and, by the time you reach the 11s, you’ve got to squint to make out the two or three high-heeled diamonds in the flat-footed rough. You hope that you’ll be able to find something that both fits and is hot, but, unless you remembered your pair of rose-colored glasses, you’re usually just stuck with the former. (Shout out to brands like Christian Siriano and Fioni for bucking this trendaffordably, too.)

That’s why I’m so fucking into this line of shoes I just saw on Out. Say helloooo to TSKENYA, from British designer Tskenya-Sarah Frazer. They’re hot, they run in U.S. sizes 10 to 15, and they’re explicitly trans-inclusive in both their marketing and their design! And did I mention they’re hot? They are extremely hot.

There’s a black lycra peep-toe boot, black suede ankle straps with a puff of faux fur on the toes, lace-up rose gold stilettos, andmy personal favea deep marsala velvet chelsea boot with a chunky 3-inch square heel, as modeled by artist and writer Travis Alabanza above.

There’s just one problem: They don’t exist yet.

Frazer is currently in the midst of crowd-funding TSKENYA on Kickstarter. With 22 backers and 27 days to go, she’s only about $900 short of her $2,614 goal. So, if you’ve got $900 lying around, please consider sending it Frazer’s way. Crowd-funding this shoe collection won’t topple the cisheteropatriarchy, but helping peoplecis, trans, and those who exist beyond the binaryfeel cute will crack a bunch of fault lines in its foundation.

Pumpkin-Spiced MAGA Hats Are Where Autumn and Fashion Go to Die

There’s now a way to tell people that you love different color leaves but not different color people.

That’s because, I’m horrified to report, Donald Trump’s website is now selling pumpkin MAGA hats and I suddenly ache for the sweet relief of death.

To add fashion insult to injury, the hats are already sold out what a bummer! If they do go for sale again, these “proudly made in USA” hats are only $45. Unfortunately, to ensure delivery before Halloween, the deadline passed on October 23.

Somehow, the president is slower than Amazon Prime.

Comedian Samantha Bee already pointed out the irony of Trump, famous for his off-kilter complexion, making a hat featuring an orange ghoul.

Meet the LA Designer Empowering Music’s Fiercest Females

“Anything I can do to help raise a pedestal that empowers women, I’m there laying bricks.”

LA based artist and costume designer Seth Pratt is all about helping music’s most outspoken artists live their truths, one custom-made outfit at a time.

Over the past decade Pratt has designed garments for the likes of Lady Gaga, Azealia Banks, and Charli XCX, but his ride-or-die muse remains Brooke Candy, the rapper-turned-pop princess who made her name with viral club hits like “Das Me” and “Opulence.”

He’s also recently started dressing rising singer/rapper Lizzo, another artist who, like Candy, has built a fiercely loyal fanbase by embracing herself for exactly who she isnot who the music industry wants her to be.

We caught up with Pratt for a conversation about his religious Arkansas upbringing, the fearless women he designs for, his commitment to dismantling social norms, and more. Check it out below and give him a follow @sethpratt.

Hi Seth, can you tell us a bit more about who you are and where you come from?
I’m a shy southern boy from Arkansas. Or I was. I grew up in a dry town of 22,000 people, mostly Christian. I went to a little private Christian academy, something like 350 kids spread K-12. I was such an introvert that my mother was ordering for me at restaurants till I was 14 because I wouldn’t speak to a stranger. Dad is an Arkansas native, soccer coach/ref, road worker, and WW2 reenactor, and my mother was an RN from San Diego, so I got to spend a lot of time in California with my mother’s side of the family growing up.

According to my mother, I started drawing and painting quite well when I was five and was sewing and making clothes by the time I was eight. I excelled in art, and because my school was so small they catered to what they saw I was good at. I would be sitting drawing in English class while my teacher was giving a lecture and instead of scolding me my teacher would hold up my drawing and show it to everyone. By the time I graduated I think they had created 3 new art classes for me, so I had one every semester.

My senior year we did a production of Into the Woods, which was the first time our school had done a production of that caliber. I played the role of Jack, costumed the entire thing and built all the sets with the help of my art teacher, including two thirty-foot trees that consumed the stage and three giant story books that rolled out and opened up into interior sets for the different characters.

It took me half a year to complete everything working in the auditorium during the day and at night at home. During that time my teachers excused me from my classes, I don’t remember turning in a single assignment but my teachers gave me all A’s and B’s. That’s when I got my first taste of what I would do with the rest of my life.

After curtain call on opening night my mother came to hug me and I broke into tears and collapsed on the stage because the process of creating was over and I had enjoyed it so much more than anything I had ever experienced. For me it’s more about the process than the end result. I love to work. I live to create.

How would you describe what you do and how did you come to do it?
If there is an opportunity to create, I’m on top of it. Especially if it’s a medium I’ve never tried before. I work as a costume designer, tailor, pattern maker, graphic designer, retoucher, photographer, video editor, illustrator, and painter, all self-taught. As an artist and in my personal life I try to push limits and break down social expectations.

I generally live my life by one concept: that society isn’t real and everything that makes us have doubts and basically all of the problems or evils in the world come from social programming or they way we are taught that things should be, how we should act, how we should dress, what is considered beautiful or successful. All of these things keep us from fearlessly living our truth and being individuals, but even worse they divide us as human beings by race, gender, sexual preference and class. I think it’s so important as an artist to keep an eye on the past while pushing forward to the extreme future. If you want to make a difference and open people’s eyes you have to go far over the line in order to push it forward just a little bit.

I won’t go into super detail about how I came to think this way, but I was raised Christian. I did everything I was expected to do, followed all the rules, oppressed my homosexuality, got engaged to a woman at 19, and then one day in my Old Testament class at my Christian University the professor said, “So we know dinosaurs existed but there is no mention of them in the Bible,” and it hit me like a ton of bricks. Nothing I had been led to believe was true.

This, coupled with the fact that the first fashion course I took in university just ended up with the professor sending all my classmates to me with their sewing questions, led me to decide school was not for me–there’s nothing they can teach me that I can’t teach myself. I dropped out, broke off my engagement, and moved to LA for an internship I got on MySpace with a fashion designer, and I’ve been here ever since questioning the rules of society and breaking them whenever I get a chance.

As an artist who works in several different mediums, talk me through your creative process?
I like to draw from the past and push towards the future. Visually I look to the past for inspiration and then put my future spin on it to make it unique but always with a bit of humor. Then I use techniques I have had success with in the past but try to take them to the next level so that I’m always growing. I find that the shorter the deadline the better. When you have to make decisions based off your gut instincts you produce better art. It’s sort of flows out of you organically rather than being too affected by doubt or overly curated. The more skills you build the more well rounded you are, and this gives you the ability to see things from many different angles. Which comes in very handy when collaborating with other artists in being able to communicate techniques and aesthetics and work better as a team.

How do you manage your time between the different formats–are there periods where you are more into creating garments, and other times when you want to draw more?
Yes it absolutely comes in waves, but I try to stay on top of it and keep switching it up so that I stay inspired. Most of the time, though, I am drawing on more than one format for any given project. Each skill is a different tool but they are all part of the same tool set, they all come into play at some point or another, if not simultaneously.

What would you describe as your signature style or your aesthetic?
Rainbow retro future

Who were your influences as you were developing your style?
As far as fashion designers, I have to say Vivienne Westwood has been a big influence, along with Nicolas Ghesquiere and Raf Simons. I also very much admire Bob Mackie’s career and his ability to collaborate with and empower confident talented women. Hajime Sorayama’s illustration work has been a huge inspiration as well. But like any artist I draw from the popular culture of my childhood that shaped my eye for aesthetics in the first place.

You work a lot with Brooke Candy, tell us about that relationship. Would you describe her as a muse?
Brooke is an artist’s artist. She has a way of bringing out the best creatively in everyone she works with. In a way you could describe her as a muse but I think that would be an injustice to her as an artist. When I met Brooke eight years ago she no joke had a golden aura. I could see it plain as day and I just felt connected to her. I’ve been with her since the beginning of her career, and the work I’ve done with her I’m most proud of. She has been my biggest champion and supporter and a huge influence on my style and aesthetic. Because we developed as artists together, she understands me and my process on such a deep level. She has become an invaluable resource for me, it’s like having two brains. She is my twin flame, and I will always love her with all of my heart. Fucking ride or die.

What have been some highlights of things you have worked on so far?
Well I guess the most notable thing I’ve done is the robo exoskeleton I made for Brooke that she wore in the Grimes “Genesis” video.

One of the first jobs I did as a freelance costumer, and still one of my favorites, was with Geneva Jacuzzi for a 9-page spread in Vice. I made nine looks in four Days based off of these nine characters she had created, and it was all mostly out of paper because there was no budget. I managed to pull off a massive amount of pieces in an incredibly short amount of time. That’s the type of shit I live for.

My favorite thing to date is the last video I did with Brooke for “Volcano” because I got to play a much larger role and develop new skills. I costumed as usual, but also art directed, scouted locations, and edited it alongside Brooke, which I had never done before. I taught myself how to use Adobe Premiere and After Effects. And I think it turned out beautiful.

How has Instagram impacted or influenced your work?
I think it’s a great platform for displaying and organizing work, finding inspiration, supporting others’ work and sharing love. But most importantly connecting with similar minds and finding collaborators. It helps me create deadlines for content to post and therefore create more work. For me it’s not about the amount of likes I get, but if a few artists I respect like it that gives me life and the confidence to move forward.

What are you working on now?
I have a couple upcoming projects with Brooke but what I’m most excited about currently is that Brooke has started styling for other artists, which brought Lizzo into my life. Lizzo is unique because she defies the current standards of beauty by exuding sex and confidence as a plus-sized woman in a society that would have her believe she is anything but those things. Her message is one that I think is exactly what women need right now, and I am very proud to be a part of her journey. Anything I can do to help raise a pedestal that empowers women, I’m there laying bricks.

Where can people see more of your work?
Obviously my instagram @sethpratt. While I am working on pieces I chronicle the process in my stories, so look out for that too.

Cool! Playboy Just Named Its First Ever Trans Playmate

In news that made me stop what I was doing and read my phone at the club last night, Playboy announced that their newest Playmate is a trans womantheir first trans playmate ever!

Wow! OK! Right in my tragic straight girl feelings! Camila Cabello was wrong! There is sometimes crying in the club!

Her name is Ines Rau, and she’s a French model. She previously appeared in the pages of Playboy’s May 2014 issue in a nude spread shot by Ryan McGinley. Many of you readers on this here website may have not seenthat, but maybe you caught her in Vogue Italia or this stunning campaign for Balmain Hair Couture?

Oh, and she’s not the first trans person in the mag!Caroline Cossey appeared in the pages back in 1981, which isone year before being publicly outed and losing everything.

Anyway, the iconic men’s mag won’t reveal the entirety of Rau’s Playmate spread, shot by Derek Kettelayou’ll have to buy a copy of the November/December 2017 issue for thatbut there are some super cute photos of her posing in white lingerie and sneakers and kissing an elephant. She said that doing the shoot gave her “so much joy and happiness” and that the opportunity was “the most beautiful compliment” she’s ever received.

“When I was doing this shoot, I was thinking of all those hard days in my childhood,” Rau told Playboy Senior Associate Editor Anna del Gaizo. “And now everything happening gives me so much joy and happiness. I thought, ‘Am I really going to be a Playmateme?’ It’s the most beautiful compliment I’ve ever received. It’s like getting a giant bouquet of roses.”

Not to read tooooo too much into this, but it’s pretty cool to see this bastion of straight men’s desire publicly affirm that trans women, or at least this trans woman, can also be desirable. I know! I know! Liberation won’t come through male validation! Nor will it necessarily come through representation, blah blah blah. But I find this really encouraging. Perhaps, it signals that someday all the faceless straight dudes sliding into my Grindr DMs will actually hit on me in public. I’m into it!

COMING SOON INES RAU X PLAYBOY USA STAY TUNED

A post shared by INES RAU (@supa_ines) on

So Hot Right Now: Paris Fashion Week

The final presentation of fashion’s Big Four hit the Parisian catwalks this week with the most important looks of the Spring / Summer 18 season. Even as gender neutrality becomes a stronger focus for many houses, the influx of men’s looks on the catwalk this season suggests gender-specific fashion still has something to say.

‘90S

Relaxed skater silhouettes and denim had strong visibility on the Paris runways this season, with cartoon graphics, shoulder-styled knitwear, and puffa vests adding to the vibe. The look feels overtly ‘90s, taking us back to the effortless style of the decade’s teen movie heartthrobs.

POP BRIGHTS

Optimistic brights ran through most collections, with saturated colour being worn from head to toe. Strong mustard and fire engine red tones updated suiting and shirting, while rich purples and blue-greens tones worked well in sporty looks.

ROMANCE

Themes of decadence and romance on the Parisian runway got their whimsy from opulent silk fabrics and soft chiffon layering. Menswear gave strong nods to Dandy dressing, while womenswear saw more dramatic and deconstructed styles.

THE UNDERWORLD

One for the goths! Classic black stole the show this season, with matte-and-shine combinations serving up the perfect balance of sleek and sexy. Deep aubergine and navy tones added subtle accents to the darker looks.

THE MINIMALIST

Stripped-back and smart, minimalism still has a strong place on the runway. The normcore trend got a bit more conceptual this season, with menswear seeing the introduction of ovoid silhouettes and clean retro-inspired pieces.

Tom of Finland Fest Brings the Artist’s Iconic Drawings to Life

The Tom of Finland Foundation held its annual Art and Culture Festival this past weekend at its LA headquarters, and the event played out like one of Touko Laaksonen’s iconic drawings brought to life.

The focus of this year’s fest was moving pictures – a nod to the U.S. release later this month of the ToF biopic – and the programmers rounded out the art on display with live tattooing and skateboarders grinding on a halfpipe in the foundation’s leafy front yard.

Recently out-and-proud pro skater Brian Anderson was on hand as a guest artist, along with loads of covetable erotica curated by LA-based artist Rubén Esparza (not to mention the many priceless Tom of Finland works that permanently adorn the foundation’s walls).

We sent photographer Navi (www.boychoy.com) out to document the action – from the sex dungeon underneath the house to the pleasure park in the backyard – and he didn’t disappoint.


Peter Kalisch, @peter_kalisch

Brian Anderson, @nolimitsoldier

Jon Vaz Gar, @jonvazgar

Manuel Rodrigues, @dj_sadboy

Missie O’Tool

Brian Valence, @yungbambiboy

Maya Monès Talks Crowd-Funding Her Dreams And ‘The Girls’ Having Her Back

“Everything I do is for the girls,” says Maya Monès, a model based out of New York who also DJs under the name br0nz3_g0dd3ss. When she’s spiraling on a shoot or working through some shitty comments, it’s the trans women in her life who bring her back and keep her focused. “They remind me that what I’m doing is bigger than me,” she says. “They’ve been my support system from the jump, and they always will be.”

Her faith is not misplaced. For the past few months, Monès has been crowd-funding her facial feminization surgery on YouCaring, and over that time the girls have shown up for her over and over and over again, raising nearly $30,000 by the fundraiser’s end last night. We were wondering how she’s feeling now that her long-imagined future is about to become her present, so we caught up with her over the phone on Saturday during the final hours of fundraising. Check it out below, and Venmo her some recovery money at @maybeitsmaya!!

HARRON WALKER: In your Chromat interview, you said that you find a lot of strength “in envisioning a young Maya seeing herself now thriving on her own.” Who was the actual young Maya seeing in magazines and on screen? Who inspired her?

MAYA MONÈS: I grew up pretty sheltered, so the only person I really had was a vision of myself, who I wanted to be. Another big person who inspired me is my mom. I know that’s like everybody’s pageant answer, but really! We were born on the same day and have a really special connection. She made everything out of nothing, and she taught me to put others before myself. Everything that I am today and everything that I hope to be really is a reflection of her. Everyone’s always like “I’m turning into my mom!” with fear in their voice, but I’m like “Hell yeah! I’m turning into my mom!!”

So many trans girls I know, myself included, are super particular about the photos they post online. Your line of work is like entirely shot by other people. Did you have to work to develop a comfort level around that, and, if so, how’d you do it?

I mean, yes and no. I have developed a comfort level, definitely, but I’m never really 100% comfortableever. It’s something, on some level, I’m faking and pretending because I know that my position is helping other people. That’s what keeps me going. I practiced in front of the mirror to figure out what angles I’m comfortable with. It’s really limiting because I can’t fully be the artist I could be through modeling, really letting myself go to make art with my body. I grew up acting, so it’s been really easy for me to turn that counterfeit confidence on and off.

You were in acting? What kind of roles did you get to play?

Well, actually, I played two trans women when I was 15 or 16. I played Angel in Rent, who’s depicted as a gay boy but really she’s one of the girls, and I played Mary Sunshine in Chicago. In the movie, she’s a female reporter, but in the show she’s a trans woman, pretty much. There were some random ones, too. I played Audrey, the plant, in Little Shop of Horrors, with a deep voice and everything. I’ve tried to get back into it, but it’s hard to find roles that are meaningful for black trans women. We’re always the same old narrative, and it’s a boring narrative. I want a role that will make people see us as humans, not the same story that’s already been told. I’m hopeful that will come along.

What kind of fashion industry work do you hope to do someday?

I really want to work overseas and hit the Paris-Milan-London runways, really have the world see me stomp. Nobody does it like I do. Just me walking into a room can change and challenge so much, so I can’t imagine what my runway walk would do to the fashion industry.

Who are some of your favorite people you’ve already worked with?

My favorite people I’ve worked with, and there’s a lot of people that come to mind, are Chromat and Gypsy Sport. Both brands really allowed me to be myself. They really did not limit me as far as my walk or my pictures. They looked at me and understood everything I was going through. Everything I said, they heard. They were my faves to work with. I didn’t feel like a trans girl or a “trans model” at their show. I just felt like a model.

Wait, so have people said stuff about your walk?

Yeah! Think about the fashion industry in the ‘90s and 2000s. There was a period where supermodels had personalities. They were household names because of who they were or how they walked. After that, there was a total whitewashing. Models didn’t have to know how to walk. They could have two left feet, but as long as they could just walk down the runway they’d get the job. It’s a slap in the face! One of my favorite things I’ve ever been told about my walk was, “Ummmmmm, could you make your walk less fabulous please?” I was like, “Do you think anybody ever asked Naomi Campbell to make her walk less fabulous?

Absolutely not.

Like, no! Bye! Fuck that! I came here to do what I came here to do and that’s pump.

How do you feel now that the crowd-funding’s almost over? How did you feel when you started it all those months ago?

Going into it, I felt very hopeful that things would come together. I always knew in my heart that it would happen, but that still didn’t take away the fact that it’s been such a scary, tiring, exhausting, confusing process for me. It’s been really hard to explain to people over and over that this isn’t something that has to do with beauty. It’s me returning to myself and existing as myself for the first time in my life. I have the right to do that, and it’s people’s responsibility to provide that for people that they’ve put down. I’m feeling great now, happy and relieved. It’s been really beautiful to see people rally together to make my dream come true. It’s an indescribable feeling. I’m so grateful. It’s going to change my life. I’m going to finally be able to be myself and look in the mirror and see what I’ve been seeing in my head since I was a baby. My life is absolutely going to start right now.

Do you have any advice for black trans femmes or anyone else who wants to break into fashion?

Set a vision for yourself, no matter how crazy or wild or intangible or far away it may seem from where you are right now. Set that vision, and chase it. If you want it, go get it. Do everything in your power to keep that vision in your line of sight. Don’t let anybody blur that vision. You’re the only one that can make it happen for yourself. No one else is going to do that for you. There are so many things pushing up against girls like us. Just remember that us being here is changing the world. Our existence is so beautiful and so powerful and so necessary. We’ve been around forever. People have looked up to us throughout history. We’re healers. We’re teachers. We’re pillars of community. We’re everything. We’re magic. We have to find the strength in us to help us continue fighting. I would just say thatand keep your girls close.

Any upcoming projects you want to talk about?

Yes, actually. With the help of some friends at Discwoman, Bearcat and Frankie Hutchinson, I’ll hopefully be going on a little European DJ tour a month after my surgery. It’ll be my first time in Europe, so I’m really excited. I just decided on the name of the tour: The New Face Who Dis? Tour. It’s going to be really fun. I’m not going to say anything about anything else I’m working on. I’m just going to wait and gag all of you.

I cannot wait to be gagged.

Me either, bitch! Me either.

This interview has been edited and condensed.

Milan Fashion Week Serves Up Spring/Summer 2018

Next spring and summer just breezed down the catwalk at Milan Fashion Week SS18, and there are a few key themes we’d like to see strut straight off the runway and into our closets. Here are the trends that made the cut.

Oversized

From left to right: Jil Sander, Bottega Veneta, Ujoh, Angel Chen, Calcaterra

Large-scale silhouettes work perfectly in trench coats and classic macs that give a heavily

stylized look. Huge white shirts have a sexy-sloppy appeal, while boiler suits look minimal and chic.

Resort Chic

From left to right: Etro, Gucci, F.R.S. For Restless Sleep, The Sirius, Missoni

Vacation styling sees saffron, rust, and rich green tones take inspiration from exotic markets

and spice rack color palettes. Luxury silks and lightweight trousers work alongside beading

embroidery.

Retro

From left to right: Gucci, Missoni, Daizy Shely, Bottega Veneta, Trussardi

Retro styling has been around forever, but it still has a strong presence on the catwalk. This year we’re seeing vintage geek eyewear and a clashing colour palettes that evoke the films of Wes Anderson.

Sports-Inspired

From left to right: Fashion Shenzhen, Angel Chen, Grinko, Bottega Veneta, Gucci

With strong nods to tacky ‘80s and ‘90s sportswear, this season’s graphic tracksuits were adorned with flashy embellishments, shiny fabrics, and ribbon details.

Suited & Booted

From left to right: Atena Re, Dolce & Gabbana, Ssheena, Gucci, Antonio Marras

Ultra-smart dressing is on the rise with sleek silhouettes and a slight Old World feel showing

a strong presence on the catwalk. High shine detail sits pretty on sharp lapels.