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If there is one country that serves as a big source of inspiration for John Galliano, that country would probably be Japan.

His shows are always historical and cultural; among some of his themes have been ancient Egypt, Victorian-era England, and Native American culture, but Japan is one that occasionally recurs in his shows. Whether it’s as blatant as a kimono or as subtle as kabuki-inspired makeup (courtesy of Pat McGrath), Galliano’s pieces have always had touches of Japanese culture infused to them. Three of the his most memorable Japonais shows include his Fall/Winter 1994-1995 collection from his own label, and two collections from his tenure at Christian Dior, Spring/Summer 2003 Haute Couture and Spring/Summer 2007 Haute Couture.

John Galliano F/W ‘94-’95

Poetic, romantic, erotic, and exotic are some adjectives used to describe this collection. Kimonos and obi-belts with flower embroideries were clear Japanese influences. The fabrics consisted of black satin-back crepe while the color palette included soft pinks and yellows contrasted against the rich black fabric. The cuts were clean yet hid patterns only visible when looked at closely; the seams secretly took the shapes of stars and scallops.

Kate Moss’ look became one highlight of the show, with the transparent pink kimono revealing her lace underwear in addition to the stockings and the obi belt, reminiscent of the innocence of Cio Cio San in Giacomo Puccini’s Madama Butterfly. The headpieces were courtesy of millinery Stephen Jones and hairdresser Julien d’Ys, who crafted together black hats inspired by Elsa Schiaparelli with Möbius-like projections. The show was staged in a misty, old Parisian salon, then came the storm of supermodels which included Linda Evangelista, Naomi Campbell, Christy Turlington, and Shalom Harlow to add to the show’s drama and elegance. This collection marks Galliano’s earliest Japonais collections, and this was conducive in both elevating his reputation as a subversive, new British designer, and in increasing the sales of his ready-to-wear brand (Bergdorf Goodman reportedly bought all of the pieces of this collection).

Christian Dior S/S ‘03 Haute Couture

As he experimented previously with Japanese minimalism, this collection was amplified with Galliano’s signature maximalism.

Silks and chiffons swathed the models as they walked on the runway, almost overwhelmed by the sheer volume of the fabrics layered on them. The geometric coats are tailored similarly to that of origami while the flowers reveal Galliano’s romanticism through hanakotoba, the Japanese language of flowers; the red roses symbolizes love, the white daisies symbolizes faith, while the pink camellias symbolizes longing. Some pieces had the hineri of the kimono strangely incorporated with 18th-Century hoop skirts in the mix. The color palette included pink, yellow, blue, black, gold, purple, red, and green.

It’s almost easy to get lost amidst the flamboyance and fall blind to the aesthetics of Dior, but you can find it within the sheer elegance of the collection; Galliano pervades Dior’s femininity and painstaking tailoring with his own exuberance. The collection also showcased one of McGrath’s finest makeup creations yet, opting for an exaggerated kabuki look to compliment the pieces. Chinese acrobats were also sent to Paris to entertain the crowd – as if the immense theatricality wasn’t enough for the show. This collection is one of Galliano’s loudest and audacious to date, and personally one of my favourites.

Christian Dior S/S ‘07 Haute Couture

This time, Galliano experimented with something more subtle but with the same amount of drama from the previous collection. Returning once more to kimonos, obi belts, origami, and flowers, Galliano merged these influences with elements from Christian Dior’s “New Look” such as the cinched waist, the full skirt, and the rounded shoulders; include geisha-like makeup and Japanese prints in the mix (one dress had a print of The Great Wave off Kanagawa) and you’ve got an avant-garde Japonais collection that’s both timeless and modern at once.

Far from formulaic, Galliano also experimented with some elements from contemporary Japan including metallics (perhaps due to Japan’s penchant for technology) and an Issey Miyake-like pattern on one look. The unique color palette of lime greens and yellows stand out among the pinks, purples, whites, and blacks. Headpieces with fans, ribbons, umbrellas, and flowers showcase a different approach from the geometric ones in his 1994 collection. My favorite look was the finale piece worn by Shalom Harlow, a white gown with subtle flower embroideries and an origami-like finishing concealing the thick layers of tulle underneath.

Some of Galliano’s other works still evoke Japan to some extent, but none of them carry the same level of intensity as these three collections do. I always thought of Japan as a perfect theme that bridges the gap between Galliano and Dior since Japanese aesthetics seamlessly blend both avant-gardism and timelessness; that’s also why I personally prefer his two Japonais collections over that from his own label. Galliano is the only Western designer I can think of who can capture the wild eclecticism of Japanese culture flawlessly.

Dover Street Market is more than just a concept-store, it is a space for artistic eclecticism. What sets Dover Street Market apart from most department stores is the unrestrained creativity it harbors. Art installations are displayed alongside designer clothing making it seem more like an art gallery than a boutique. The store is described by its owner, Rei Kawakubo – the designer behind Comme des Garçons – as an “ongoing atmosphere of beautiful chaos,” and this impression becomes clear as soon as you step into the store.

Previously the Komatsu Department Store from 1946, this revamped six-story building is a blank canvas for creatives to exhibit their work. Without the clothing racks and the artworks, the building would only be comprised of empty white rooms. All of the artists displaying their work inside Dover Street Market were picked by Kawakubo herself.

“Pulse” by Kyoto-based Kohei Nawa
“Bear Cave” by French studio Coudamy Design

Among the installations are “Pulse” by Kyoto-based Kohei Nawa, a set of twisting white pillars near the escalators; “Bear Cave” by French studio Coudamy Design, a wooden tree-like structure on the second floor that unfurls to the ceiling; sculptures of giant wasps by set designer Michael Howells that are scattered throughout the building; an elephant plaster sculpture by British artist Stephanie Quayle; self-portraits by American photographer Cindy Sherman; and a giant plastic rose by British artist Andy Hillman.

Michael Howells Installation
Self portait by Cindy Sherman

You’d be surprised by how simple the layout of each floor actually is. The building has no special architectural highlight whatsoever, it’s special entirely because of the art that it features and its selection of clothing.

I want to create a kind of market where various creators from various fields gather together and encounter each other in an ongoing atmosphere of beautiful chaos: the mixing up and coming together of different kindred souls who all share a strong personal vision.- Rei Kawakubo

Comme des Garçons S-S ’16

The featured designers were also curated by Kawakubo. A mix of avant-garde, street, classic, and obscure, it feels different from most department stores who curate their designers based on their target markets. The gothic clothes of Rick Owens, the minimalist collections of Phoebe Philo’s Céline, the timeless jewelry of Tiffany and Co., and the idiosyncratic pieces of John Galliano’s Martin Margiela are all sold under a single roof. Dover Street Market also carries all the labels under the Comme des Garçons company, such as Comme des Garçons, Tricot, Ganryu, Junya Watanabe, and Noir Kei Ninomiya. Most designers that Dover Street Market carry are very unconventional, which isn’t surprising since Kawakubo herself is a celebrated non-conformist. Some labels sold here can’t be found in other department stores, making it a paradise for those who love exploring new designers.

Junya Watanabe S-S ’16

Dover Street Market Ginza isn’t located along the main highway, but on a street parallel to it, behind the big Uniqlo store (there’s a bridge connecting the two buildings). Other Dover Street Market locations include London, New York, Beijing, and a new one that will open soon in Singapore. Every store’s design is unique which makes all of them worth going to. The New York branch is located along Lexington Avenue in Manhattan and has a different look altogether. I personally prefer it over the Ginza branch since it’s bigger and the installations are wilder, although that’s not to say that the Ginza branch is boring. If you’re not interested in shopping, window shopping, or looking at art, both branches also have cool cafés to hang out in.

Ginza is beautiful but the presence of many luxury stores can sometimes make it seem flat. Dover Street Market is certainly the most unique store around the area with its playful, artistic vibe. Like Kawakubo herself, Dover Street Market is an outlier amongst the typical fashion stores in the neighborhood, and that’s exactly why this store is undoubtedly the coolest boutique in Ginza.

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Rei Kawakubo is an architect whose medium consists of fabrics and the human body, instead of building materials and space. Her creations are not merely “fashion” but are reinterpretations of the relationship between clothing and the body, choosing to use fashion as an extension to the human form, or vice versa.

Despite the fact that she owns a clothing company and still showcases her work regularly during Paris Fashion Week, she regards her work as Gesamtkunstwerk, or a “total work of art,” since the boundaries of the word “fashion” is too constrictive of Kawakubo’s creations.

Spring/Summer 1997 Collection: “Body Meets Dress, Dress Meets Body”

Kawakubo has evolved throughout her career that spans more than 30 years. Although she began with deconstruction, her Spring/Summer 1997 collection heralded a new era for Comme des Garçons, as the succeeding collections were louder and held narratives regarding femininity, sexuality, and the female form.

The video below is a performance titled Scenario, choreographed by Merce Cunningham, who was struck upon seeing the way the clothing altered the mobility of the dancers.

Her Spring/Summer 1997 collection, “Body Meets Dress, Dress Meets Body,” was grotesque with padded lumps that exaggerated and deformed the wearer’s silhouette. Was Kawakubo being critical of the beauty standards that society pushed onto women?

Padding is often used to attain a certain body type but Kawakubo reworked it into something that distorted the body instead. “After extensive searching and thinking out for new ideas, just before time ran out, I realised that the clothes could be the body and the body could be the clothes,” Kawakubo said when asked about the collection.

Some critics likened the lumps to tumors, and others remarked on how some pieces made the wearer look pregnant while some pieces exaggerated the breasts and bottom of the wearer. Kawakubo confronted the conventional notions of beauty and sexuality by creating clothes that deliberately changed the wearer’s silhouette in an “unflattering” form, challenging the gaze of the onlooker.

(F/W 2010-11) (c) The Met Museum
(F/W 2015-16) (c) The Met Museum
(F/W 2016-17) (c) The Met Museum

Throughout her succeeding collections, Kawakubo has gone against the notion of fashion as something that encourages vanity, choosing to let the clothes shape the body rather than the other way around.

Fall/Winter 2017-18 Collection, “The Future of Silhouette”

Perhaps one of her most perplexing collections in recent years has been her Fall/Winter 2017-18 collection which looked like an overblown version of her Spring ’97 collection. This collection was entitled “The Future of Silhouette.”

Again, she highlights the human body, but some pieces are now armless and much more bulbous. Furthermore, she has pieces that seem to be created out of lint, paper, tin foil, and recycled fabrics. Some critics have interpreted this collection to be a commentary on our society’s obsession with excess. Excess in the sense of vanity, leading to absurd plastic surgery and drastic methods of body manipulation, and excessive consumerist culture, leading to the environmental damages that are plaguing this planet.

Metabolist Architectural Movement
Nakagin Capsule Tower (c) Wikimedia

Kawakubo’s experimentation on clothing and the human body sometimes reminds me of the metabolist architectural movement during 20th Century Japan. The metabolist movement aimed to create buildings that imitated a living thing. These buildings adapt to the environment and “grow” constantly depending on the needs of the community, therefore the buildings become a part of the environment and of the society altogether. A common example would be Kisho Kurakawa’s Nakagin Capsule Tower in Tokyo which consists of a spine-like support with individually attached habitable capsules; this allows more capsules to be added, depending on the demand for space, which consequently makes the building “grow” and adapt like a living being. Although the original plans of this movements did not flourish profoundly, it has influenced the way contemporary architects think when relating buildings in conjunction to the environment and human beings. I find it very similar to Kawakubo’s holistic outlook of clothing, believing it to be a part of the body rather than a separate entity altogether.

Blobism
Selfridge Building (c) Wikimedia

Blobism (also known as “blobitecture”) is another architectural movement that reminds me of Kawakubo’s work since buildings are designed with a rounded and fluid form instead of an angular structure. The rounded form of the building is not an addition to the exterior, but is in fact the frame in itself.  This of course reminds me of the “Body Meets Dress, Dress Meets Body” and “The Future of Silhouette” collections. Interestingly enough, the architectural firm Future Systems, known for their blobist designs which include the iconic Selfridges building in Birmingham (above), has collaborated with Kawakubo to design the Comme des Garçons flagship store in Aoyama, Tokyo.

(S/S 1997) (c) The Met Museum
(S/S 2015) (c) The Met Museum
(S/S 2012) (c) The Met Museum

Rei Kawakubo’s work is very architectural and defies the limitations of what clothing “should” be and dares to challenge notions of fashion’s role in our society. In each collection, she allows her creativity to flow freely and continues to present something new every season. Every collection is provocative and forces viewers to think, which is why I consider her such a great artist.

Jardin Majorelle in Rue Yves Saint Laurent is not a sight to be missed when you’re in Marrakech, Morocco. Translated as the “Majorelle Garden”, the space also includes the Villa Oasis and the Musée Berbère. Owned by French artist Jacques Majorelle in the 1920s, the garden continues to exist today as one of Marrakech’s most beautiful attractions.

Designed by architect Paul Sinoir in 1931, the villa’s design is a fusion of cubism and Moorish-inspired architecture. Moorish motifs can be observed in the arches, the tiles, and the intricate patterns in some areas of the villa. The exterior is enveloped in its signature electric-blue shade, trademarked as Majorelle Blue. In 1937, Majorelle began to paint the villa, the gates, the pots, and the tiles with this specific tint of blue. This vibrant shade is said to evoke Africa through the color’s strength and intensity.

This garden is a momentous task, to which I give myself entirely. It will take my last years from me and I will fall, exhausted, under its branches, after having given it all my love.”- Jacques Majorelle

Majorelle was passionate about botany and gardening and bought the four-acre property in 1923. He brought plants from his travels around the world and cultivated them in his property, creating a biodiverse garden with plants from five continents. Throughout the decades, his garden has been preserved thanks to Moroccan ethnobotanist Abderrazak Benchaâbane.

The property is also well known for being owned by fashion designer Yves Saint Laurent and his partner, Pierre Bergé. They discovered the place in 1966 and immediately fell in love with it. Due to Majorelle’s death in 1962, the garden was abandoned and almost demolished for a new hotel. Thankfully, Saint Laurent and Bergé bought the property in 1980 and restored it back to its former glory. They kept the color and design of the villa but renamed it the Villa Oasis (previously called the Villa Bou Saf Saf). 165 new plant species were added in 1999 accumulating to a total of 300 plant species in the garden. Saint Laurent and Bergé also opened the Berber Museum featuring their private collection of Berber artifacts.

We quickly became very familiar with this garden, and went there every day. It was open to the public yet almost empty. We were seduced by this oasis where colours used by Matisse were mixed with those of nature. – Pierre Bergé

When Yves Saint Laurent died on June 1, 2008, his ashes were scattered in the rose garden near the villa. A Roman pillar from Tangier is displayed there as a memorial for the departed designer. Furthermore, the street beside the garden was renamed Rue Yves Saint Laurent in 2010. In October 2017, Fondation Pierre Bergé-Yves Saint Laurent will open the Musée Yves Saint Laurent in the garden highlighting Morocco’s influences on Saint Laurent’s work. The building will be designed by French architecture firm Studio KO.

Yves Saint Laurent’s memorial

As a big fan of Yves Saint Laurent, I’m very glad that the museum will be open when I’m there in the future. Morocco is a visual delight for all kinds of creatives,  offering inspiration everywhere you look. It is evident enough from the way it inspired this masterpiece, the Jardin Majorelle.

Many of the things that we have now and take for granted are a result of cultural exchange.  Food, religion, and design are being transformed because of influences from one part of the world to another. Culture is a fluid concept that constantly evolves; it is not something static that strictly comes from one source. People began sharing their culture and taking from others as early as the first civilizations in the Middle East.

The post-war era of the 50s and 60s saw a re-emergence of cross-cultural influences in the arts. In the world of fashion, this was heralded by the legendary French-Algerian designer Yves Saint Laurent.

Yves Saint Laurent 2002 Haute Couture Retrospective

  • Sub-Saharan Africa

Yves Saint Laurent left the fashion world in awe after his Spring/Summer collection of 1967. Influenced by the tribes of Sub-Saharan African, he incorporated wooden beads, raffia (a type of palm tree native to Central Africa), bangles, and traditional prints with shades of gold, green, and orange into his designs. The silhouettes were made more westernized, tight and form-fitting, yet  these blended perfectly with the traditional materials. This was the first time a fashion designer had incorporated elements of a foreign culture into his own work.

Image from vogue.com | Spring 2002 Couture Saint Laurent
Image from vogue.com | Spring 2002 Couture Saint Laurent
Image from vogue.com | Spring 2002 Couture Saint Laurent

  • Eastern Europe

His Fall/Winter 1976-77 collection took inspiration from the opulence of Imperial Russia. It was a homage to Sergei Diaghilev’s Paris-based ballet company, the Ballets Russes, which introduced Western European audiences to Russian culture. Saint Laurent’s collection incorporated a lot of silks and Russian embroideries, and included the ushanka, otherwise known as the “Russian hat”. The prints and free-flowing silhouettes were taken from Eastern European Romanies. Earthy shades of brown, black, and red, and pastel shades of green, blue, and pink dominated the color palette.

Image from vogue.com | Spring 2002 Couture Saint Laurent
Image from vogue.com | Spring 2002 Couture
Image from vogue.com | Spring 2002 Couture Saint Laurent

This collection is displayed between 22:22-26:22.

  • China

This collection was shortly followed by the Fall/Winter 1977-78 Chinese collection. Cheongsam-like silhouettes, Mandarin collars, and boxy jackets from the Manchurian Qing Dynasty were notable elements used in the collection. The looks were also accessorized with the conical hat common throughout East Asia. Like the Russian collection, this one also focused on China’s imperial era and sought to capture the empire’s opulence through the use of silks and embroideries. The color palette of this collection revolved around rich shades of purple, gold, and red.

This collection is displayed between 27:00-30:00.

Image from vogue.com | Spring 2002 Couture Saint Laurent
Image from vogue.com | Spring 2002 Couture Saint Laurent
Image from vogue.com | Spring 2002 Couture Saint Laurent

  • Spain

His last collection of the decade, Fall/Winter 1979-80, was inspired by Spanish culture. One of his most iconic looks in this show is the matador look. Saint Laurent used a skirt instead of trousers and used colorful pink and purple silks for the ensemble while still keeping the boxy jacket and embellishments from the traditional matador attire. Other looks of the collection included black Spanish dresses with veils, lace, and puff shoulders. The predominant shade of the collection was bluish-black (as seen in the last few pieces)  except for the matador look.

The collection is displayed between 31:15-32:26.

Image from vogue.com | Spring 2002 Couture Saint Laurent
Image from vogue.com | Spring 2002 Couture Saint Laurent
Image from vogue.com | Spring 2002 Couture Saint Laurent

Like Boysen’s palette Tradition in Color Trend 2017, the colors used in the collection play an important role in their respective cultures. The designer who takes inspiration from these cultures use these colors and reinterpret them in his own personal way. It may not be seen as “authentic” for some, but culture is never authentic. It evolves and changes over time thanks to various reinterpretations by people throughout history, and this is what makes the Tradition color palette so special. It is old yet contemporary at the same time, therefore you can never go wrong with it, thanks to its incredible versatility.

The world of fashion design has been a male-dominated industry since the early 20th century. Even though women are the market, a lot of prominent designers in history have been male, and this trend still continues up to now. Ask anyone to name famous fashion designers or houses and most likely they will mention these male designers: [Christian] Dior, [Yves] Saint Laurent, [Cristobal] Balenciaga, [Hubert de] Givenchy, etc. Among women, most people can probably only think of Coco Chanel, or more often than not, they could know brands such as Lanvin but would be unaware of Jeanne Lanvin, the female designer who started the brand.

There’s nothing wrong with men designing clothes for women, but it’s quite strange that female designers have been sidelined in an industry aimed towards women. The industry has been slowly changing, with notable female designers like Diane Von Furstenburg, Donatella Versace, and Carolina Herrera making a name for themselves on par with their male contemporaries.

This article will highlight seven female fashion designers, from the 20s up to this decade, whom we believe deserve to be celebrated for their artistry.

Gabrielle Chanel

Gabrielle “Coco” Chanel is inarguably the most famous female fashion designer in history. She revolutionized the way women dressed in the early 20th Century and her legacy still remains until today.

Fashion is architecture: it is a matter of proportions.

Going against gender roles, she broke the norms of traditional fashion and introduced trousers, suits, and jersey fabric to her female clientele. Her clothes did not only fuse together masculinity and feminnity, but they were comfortable, as well. She replaced restrictive corsets with easy and simple elegance. Her clothing took influences from menswear but were refined with softer, more feminine silhouettes.

You can see who Chanel was as a designer by simply looking at the little black dress. It’s simple, neutral, comfortable, and timeless. Chanel did not only change gender norms but she also liberated the female body. Women could now wear stylish clothes comfortably and were no longer limited to restrictive, traditional clothing.

Nina Ricci

Nina Ricci has sadly been long overshadowed by her contemporaries during the post-war period in the 30s and 40s. Disregarded by some fashion editors in those days, Ricci had a loyal clientele within the upper middle class in France.

Known for her superiority in tailoring, she never aimed for an upper class audience, choosing instead to make high fashion more accessible to the middle class. Her clothing was feminine and classic, and equal in quality to the clothes of the more expensive designers, yet a lot more affordable. Like Chanel, Ricci mostly worked with neutral shades but maintained the classic femininity in contrast to Chanel.

She wasn’t the typical designer who sketched; instead she worked straight on a mannequin until she became satisfied with her creation. Ricci had a talent for precision that surpasses most designers, and this was reflected in the impeccable workmanship of her creations.

Vivienne Westwood

Dame Vivienne Westwood still continues to be the punk powerhouse she once was. One of the most iconic designers of the late 20th Century, Westwood was heavily inspired by London punk culture that dominated the 70s.

She brought punk to the mainstream, using key elements like tartan fabric and bondage gear in her designs. Her clothing could be considered “deconstructed” as most of her clothes lack the fine tailoring classic designers were known for; she blurred the lines between the concepts of luxury and street, choosing instead to find influences in the British youth of the 70s with their disorderly, exaggerated clothing. Many of her collections were also inspired by history, such as pirates and pagan witches, among others.

Westwood is also known for being an outspoken activist, both in her art and in her personal life. She’s an activist who fights for environmental causes and continues to speak out against issues such as climate change, fracking, and human rights.

Rei Kawakubo

Rei Kawakubo is currently the most fascinating designer in the world. Mysterious and secretive, she rarely takes interviews nor talks to the press. Her creations go beyond fashion and delve into the realm of abstract art.

Always ambiguous, her designs are open for interpretation. She never imposes her personal meaning onto her creations, allowing the audience to understand it for themselves. She creates fashion not as a means of dressing up, but as sculptural extensions of the human body. Consistently experimenting with silhouettes, proportions, fabrics, and prints, there is no way of predicting what she would do for the following season.

Asymmetry is the only constant element in her designs. Kawakubo is unpredictable, and that’s what makes her so incredible. She doesn’t stifle her creativity like many contemporary designers, choosing artistry over commerce, and this works to her advantage. Each show becomes another awe inspiring sight to behold, and critics and fans alike have a chance to marvel at her brilliance once more.

Ann Demeulemeester

Ann Demeulemeester always has a certain allure to her that sets her apart from the rest of the Antwerp Six. She exudes a certain type of cool that comes with nonchalance, and this is reflected in her clothes as well.

Ann Demeulemeester’s style is contradictory: punk yet elegant, simple yet unconventional, and masculine yet feminine. Her clothes look poetic with monotone shades of black and white paired with the tough-fragile elements in her clothing; models walk down the runway with asymmetrical biker jackets (or unbuttoned jackets) styled with willowy skirts and sheer fabrics, complimenting one another in the most unlikely way. Her clothes are angular and asymmetrical while being wispy and effortless at the same time.

The Ann Demeulemeester woman could easily fit in with punks and 18th century academes alike. She is fluid, capable of fitting in and adapting to any situation or time period. Demeulemeester’s contradicting elements are like yin and yang, enriching rather than stifling one another, and this unique strength of hers is what sets her apart from most designers.

Iris Van Herpen

Iris Van Herpen is a modern day icon in the contemporary Dutch fashion industry. Only 32 years old, she has already received acclaim from both art and fashion critics; her work has also been exhibited in various museums across the globe such as the Textil Museet in Sweden and the MET in New York.

She is a pioneer in her use of textiles, experimenting with new textile technology and 3D printing to create the sculptural pieces she is most known for. Her influences seem to come particularly from science, and that is not only evident in her choice of materials but also with the color palette she often uses, consisting mostly of metallics and glossy neutrals. Her clothes always look futuristic, almost straight out of a science fiction film.

Like the late Alexander McQueen (whom she interned for before she started her label), van Herpen continues to think outside the box and pushes boundaries, never succumbing to the pressure of commercialisation like most of her contemporaries. She never dumbs down her work, which is why her shows are always a sight to behold season after season.

Bouchra Jarrar

Bouchra Jarrar is probably the most underrated designer of the decade. Working under various fashion houses for many years, Jarrar successfully ran her own business from 2010, garnering excellent reviews from critics and gaining a small fanbase. She got better recognition in 2016 when she was appointed as the creative director of Lanvin.

She is known for her simplicity and her superiority in tailoring before anything else. Her clothing is not gimmicky, and despite her shows being seasonal, her clothes are never outdated. Stylish and impeccably chic, Jarrar’s specialties include trousers and simple jackets rarely seen in haute couture. The look is always streamlined and sleek, never excessive. Although unafraid to play with colors, when she does use them, she often uses muted variants.  Her palette usually consists of cream colors that go well with anything.

Jarrar’s stint in Lanvin is a superb one. She manages to translate Jeanne Lanvin’s style in a more contemporary context, incorporating elements from her own style into Lanvin’s feminine elegance. The new Lanvin is not for the fashionable woman, but for the stylish one.