Jack Moss is the Fashion Features Editor at Wallpaper*. Having previously held roles at 10, 10 Men and AnOther magazines, he joined the team in 2022.
Left, Loewe. Dress, £4,150, by Loewe. Right, Louis Vuitton. Top, £6,614; shoes, £942, both by Louis Vuitton. Tights, £50, by WolfordThe penultimate look of Jonathan Anderson’s latest womenswear collection for Loewe featured an enormous golden dressmaker’s pin, skewered through the ecru-coloured gown – itself appearing like an unravelling roll of fabric – as if holding its folded form in place.
Pins were James’ foremost tool: those who worked with him in his atelier would begin not by touching the gowns but by picking up the pins from the floor. When trusted, they would be tasked with inserting the pins at James’ command, striking his desired angle of an exact 45 degrees into the fabric. If they were placed wrongly, he would fly into a rage.
In his latest collection, Galliano revealed his clothing’s inner workings: seams were exposed and the dressmaker’s chalk was left as adornment. Bodices were torn from the body to expose stitching, while other garments contained flattened, laminated elements, inspired by clothes being packed into a suitcase. And Margiela’s influence continues to hover over the collections. He remains a favourite with fashion students, who, more than three decades on, still see a vision of modernity in his work.
The show played out to a soundtrack by actress Isabelle Huppert, who read the instructions for creating a tailored jacket. The steps are so complex that it took more than an hour for Huppert to record them in full. Demna said he wanted to show that fashion is complex and that, beyond the theatrics, his garments take hours of craft.
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