His birth name was Valentino Clemente Ludovico Garavani. To the world at large he was Valentino, the last emperor of fashion. The Chic. He passed away at one of his residences, in Rome, on Monday, January 19. He was 93 years old
Valentino was the definition of fashion, luxury, and pure aesthetics—you need only look to his collections for proof as much: simplicity distorted by a single theatrical touch (a bow, a puff, a neckline, a detail, a plunge bearing the heart). Look to that shade of red which takes his name to understand that he wasn’t just an excellent couturier (itself no small thing), he was a master of dreams devoted to beauty and enchantment. Beauty has always been the pinnacle to which Valentino relentlessly aspired, a passion he could not do without. And we are not just talking about red carpets or princess gowns, but the all-around beauty that permeated every moment of his life, flowing out of everything he did.
He was born on May 11, 1932, in Voghera, in the province of Milan. His father, Mauro Garavani, married Valentino’s mother, Teresa, and opened a barbershop before turning to a career in wholesaling electrical equipment, which guaranteed the family a certain affluence. In 1925 his mother gave birth to Valentino’s sister, Wanda, then, in 1932 came a baby boy who was given the same name as his paternal grandfather, Valentino.
The little boy went to school but was absent-minded, always hunched over books and filling the pages with endless drawings. He always loved to draw: he did it all the time. From those mountains of sketches came his wonderful ideas, recounting that the thunderbolt for fashion struck him very early, when he was six years old. That’s when the official engagement of Maria Francesca of Savoy, the last daughter of Victor Emmanuel III, to Prince Louis of Bourbon Parma was announced, with Maria dressed in a green lamé dress for the occasion. It was this sight that sparked an interest in fashion for young Garavani.
From there, he began spending more time in his aunt’s fabric store, making design his primary hobby. Which, of course, soon became more than a pastime. He’d eventually take a course in figurine design at the Santa Marta Institute in Milan. While pursuing his dreams Valentino enjoyed financial support of his father without much drama, even when he decided to move to Paris to further his education. Improvisation was not for him, he preferred to learn the fundamentals, get into the thick of things, make the art of the couturier his own. He enrolled in the prestigious school of the Chambre Syndicale de la Couture Parisienne and was put in Jean Dessès’s workshop, where he learned everything about technical construction, fabrics and color relationships.
Ebone Thornton, a Prince George’s County, Maryland, native, got the chance to showcase her work at Fashion Week in New York City.
A model walks the runway during the Tory Burch spring/summer 2026 fashion show during New York Fashion Week, Monday, Sept. 15, 2025, in New York. (AP Photo/Yuki Iwamura)(AP/Yuki Iwamura)
A model walks the runway during the Tory Burch spring/summer 2026 fashion show during New York Fashion Week, Monday, Sept. 15, 2025, in New York. (AP Photo/Yuki Iwamura)(AP/Yuki Iwamura)
Ebone Thornton found herself standing on a rooftop in Manhattan at Penthouse 45, just a few blocks away from Times Square, earlier this month.
The Prince George’s County, Maryland, native’s dream started when she first made an outfit for her teddy bear at five years old. Now, the 31-year-old mother is watching models walk the runway wearing designs she created.
“I recently did New York Fashion Week, which was truly the most exciting thing I’ve ever done in my life,” Thornton said. “Well, I don’t want to say that. I have a child! But yeah, it really was a dream come true.”
As one of the few independent designers chosen to showcase her work in a runway show, Thornton made sure that all body types were represented.
The models were of all different sizes, which Thornton said is important to her.
“Two was the smallest in women’s and the largest was a size 16, ” Thornton said. “A men’s small all the way up to a men’s 5X.”
Thornton’s “Sonny and Chelle” is named after her late father and mother.
“My mom is literally the sweetest and best woman I know. I am really grateful to be her daughter. It was a really hard time losing my father, and it was just me and her for a really long time,” she said. “She has always been a very big supporter of my dreams and whatever I want to do.”
The inspiration for Thornton’s collection was an anime from the 1990s called “Nana” that featured a girls punk band.
She said she wanted to bring light to the punk subculture, because she believes it connected marginalized groups, such as Black, Hispanic and Asian cultures.
“It’s way more than just wearing spikes and black clothes, it’s a truly life changing movement that you could be a part of,” Thornton said.
The clothes Thornton said she works primarily on are corsets, vests and shorts.
“If you were to see a business professional and a suit and tie, but let’s say they went through a garbage disposal or something like that,” Thornton joked. “I did a lot of deconstructions of original tailored suits, and I made a lot of them into vests.”
The Towson University graduate’s goal isn’t to sign an exclusive deal with a retailer. Instead she said her dream is to own a boutique.
“Something that would allow me to just create based off of what I love and what I’m feeling in the moment, something that could be passed down generationally,” Thornton said.
All though Thornton said she’s unsure if her nearly 2-year-old son, Ocean, would be into sewing and fashion in the future, she said she has a ton of nieces and nephews that she hopes will carry her legacy.
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Italian fashion designer Roberto Cavalli has died at the age of 83, his company said in a post on Instagram.
“The Roberto Cavalli company shares condolences with Mr. Cavalli’s family,” Sergio Azzolari, chief executive of Roberto Cavalli, said in the post.
Cavalli died on Friday at his home in Florence, the Italian news agency ANSA said.
The designer, who founded his label in the early 1970s and was known for his animal prints, had been ill for some time. He is survived by his six children.
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The Florence-based fashion group is owned by Auriel Investment SA, controlled by Dubai’s Hussain Sajwani, who rescued it in 2019.
–Reporting by Harshita Meenaktshi in Bengaluru and Giselda Vagnoni in RomeEditing by Chris Reese and Rosalba O’Brien
Valdrin Sahiti is a celebrity designer behind the stunning styles worn by Taraji P. Henson, Beyoncé, Halle Bailey, and more. However, the 37-year-old is now being accused of scamming several Black women out of thousands of dollars.
According to The Shade Room’sJustin Carter, the women allege Sahiti ghosted them after they paid hefty deposits for custom wedding gowns.
Now, on this episode of ‘TSR Investigates,’ Carter is getting to the bottom of it all.
More Details Regarding The Allegations Against Valdrin Sahiti
According to Carter, one particular Instagram post of Sahiti’s caught the eye of Tatiana French. French is a soon-to-be bride who will be walking down the aisle this spring.
The woman, based in Texas, says she was instructed to send her “first deposit” in September 2023. Then, she needed to complete professional measurements, and within 6-8 weeks, her custom gown, made in Kosovo, South Europe, would be ready.
“Midway between the 6-8 weeks, they said [I] would have a video showing with the dress on a model of similar measurements,” French told Carter.
According to the soon-to-be bride, she and Sahiti’s company agreed on a gown with a price tag of $2,500. French paid a security deposit of $1,331.
“Then, they’ll do the final touches or whatever that may be, and then they’ll get it shipped out to [me], and shipping would take 24-48 hours through DHL,” French explained.
At the end of the eight-week process, however, French said she hadn’t “heard anything.”
In November, French reached out to the company via WhatsApp. However, according to Carter, she “got the run around for days.”
Frustrated, French booked her flight to Kosovo, determined to bring back her gown “by any means necessary.”
What Happened To The Bride’s $2,000 Wedding Gown?
Sahiti’s company begged the soon-to-be bride to “be patient,” as they had “no intention” of keeping her gown from her. French never made her trip to Kosovo. However, she remained persistent.
On January 3, Sahiti’s company requested French to send the remainder of her payment with an additional $500 for shipping.
“It was just a Western Union link, and it says, ‘Send money to this person,’ and then the email confirmation was supposed to go to them, but I’m supposed to be paying DHL,” French said. “Another $500 is crazy — after I’ve already sent you this money, and you’re not even communicating with me effectively.”
However, French wasn’t the only Black woman who experienced the run-around with the celebrity designer. Scroll above to watch as more Black women share their experiences with Valdrin Sahiti, how the company has responded, and whether or not these soon-to-be brides received their thousand-dollar gowns.
I’m a huge fan of Nordstrom’s in-house knitwear—it hits all the key styles (crew-neck, V-neck, cardigan, chunky cable-knit, light cashmere, you name it), some of which are helpfully offered up more than a dozen colorways. (Don’t miss peeping the men’s section for some great options as well.)
Sometimes it’s the little things that bring us the most joy. And in this case, we’re talking about makeup bags (aka the unsung hero of any good accessory collection). Sure, splurging on a designer bag for your beauty products may seem a bit indulgent, but cosmetics cases are essential for staying organized—so why not invest in one you really love? Plus, consider the cost per wear: You’ll basically use it every day, and the right bag will last for years.
If you’ve been thinking of upgrading your makeup bag, prepare to be obsessed with these 20 options. Whether you use it at home, for travel, or simply keeping your purse organized, they’re sure to add an extra dose of glam to your day. Oh, and versatility alert: Many of these styles can also double as designer clutches, which is especially handy for travel (we love a good two-in-one!).
It’s that magical time of year for those designer-loving shoppers who are on a budget, or even for those who are just into getting a really great deal. Why, you ask? The Net-a-Porter Black Friday sale, of course. If you know, you know—it’s the perfect time for scooping up a plethora of covetable luxury finds at a much more attainable price. The high that results is intoxicating to say the least, and the compliments you’ll receive when wearing your scores are even more satisfying.
The Net-a-Porter Black Friday sale just started, so I was quick to dive into each department to find the best of the best deals that are not just worthy of an investment but guaranteed to get a lot of wear as well. My favorites range from classic outerwear and chic dresses to classic jeans and stunning sweaters, with some great shoes and bags sprinkled in. Ahead, shop 31 of the coolest designer pieces from Net-a-Porter’s Black Friday sale.
What is your full name, and to which tribe are you affiliated?
Korina Emmerich. I am part of the Puyallup Tribe.
How would you describe your brand to someone who’s not familiar?
I built my Brooklyn-based brand, Emme, on the backbone of expression, art, and culture, leading the charge to embrace art and design as one and weaving it into her brand story. My colorful work is known to reflect my Indigenous heritage, stemming from the Coast Salish Territory, Puyallup Tribe. With a strong focus on social and climate justice, we speak out about industry responsibility and accountability, working actively to expose and dismantle systems of oppression and challenge Colonial ways of thinking.
Items are made-to-order in our Brooklyn, New York, studio located on occupied Canarsie territories. Most items are made from upcycled, recycled, and all-natural materials, giving respect to the life cycle of a garment from creation to biodegradation. Supplies are limited.
What influenced you to start your brand?
I am blessed to come from a really creative family. My father was an art teacher while I was growing up, and I knew from a young age I wanted to be an artist, but I was still exploring what my medium would be.
The glamour of the ’90s designers still resonates with me, watching the art-driven fashion from some of the greats. I plastered my walls with images of McQueen, Versace, Gucci, etc. I wanted so badly to be a part of that world, to leave myself behind and mold into this glamorous lifestyle that seemed beyond unattainable for a child like me.
The first fully completed garment I made was my jingle dress regalia in the ninth grade. The jingle dress, also known as the healing dress or prayer dress, is composed of a colorful foundation with rolled tobacco lids that create jingles. When you dance, each jingle has a dedicated prayer associated with it, and the sound of the jingles releases the prayers. It was during the creation of this regalia that I knew I wanted fashion to be my medium.
Emme was born out of a desire to create an elevated visual representation of my multitude of inspirations combining my Indigenous and contemporary art influences while keeping the brand focused on ethics and sustainability.
The principal statement I keep at the forefront of Emme is “The success of one is not worth the detriment of many.”
Has your Indigenous background influenced your approach to design? If so, how?
I believe Indigenous designers are innately sustainable because we were raised to have a stronger connection to the Earth and what it provides. I’ve always been taught not to take more than you need, to always consider future generations with every action or inaction you take. We have an understanding of the Earth’s ecology, coexistence, and dependence of all living things, summed up in the term “all my relations.” Recognizing the principles of equality, harmony, and unity, we inherently created the idea of “no waste” in common traditional practices like hunting and fishing, using every part of an animal to provide food, clothing, tools, etc. Everything the Earth provides is received with the utmost respect and gratitude.
How do you hope your brand gives back to your community?
During this time, Emme has been matching donations for communities in need as well as working to allocate masks and PPE to elders and community members.
I myself work within the Indigenous Kinship Collective, a community of Indigenous women, femmes, and gender nonconforming folx who gather on occupied Lenapehoking (NYC) to honor each other and our relatives through art, activism, education, and representation.
We work to support our communities through mutual aid initiatives, fund allocation, direct action, and distribution of goods.
Welcome to Let’s Get a Room, a series where editor Eliza Huber heads to the dressing room to try on pieces from your favorite retailers, buzzy items, and new collections. Think of this column as a detailed guide to the pieces that are actually worth buying and the ones that, unfortunately, looked better online—no returns necessary.
Tory Burch is at the top of her game, with collection after collection garnering rave reviews from the fashion community at large; an endless array of top influencers, from Emily Ratajkowski to Alix Earle, wearing her designs; and multiple viral items with her name on their labels. In other words, I’m not alone in my admiration for the New York–based designer, which is why her brand was the perfect choice for Let’s Get a Room’s first foray into the luxury space. I couldn’t help myself. After all, given how much time I spend in its multi-floor, home-like Mercer Street boutique for personal reasons (i.e., I can’t stop shopping the brand’s current spring/summer 2023 sale selection), a proper excuse became not just warranted but necessary.
That’s how I ended up taking over two dressing rooms on the third floor of the TB townhouse late one Tuesday night, sipping prosecco and Pellegrino while putting together outfits from the currently-on-display F/W 23 offering as well as holiday-ready dresses, handbags, and shoes. Simply put, I entered into heaven, one where there’s no such thing as too many gold accessories, Tory Burch’s pierced-toe heels aren’t almost sold out, and my entire wardrobe bears her name. Scroll down to see and shop the four head-to-toe Tory Burch looks I played dress-up in.
About the brand: If you consider yourself a part of the in-the-know fashion crowd, then you’re no stranger to Anifa Mvuemba. Since she launched her namesake label, Hanifa, she’s distinguished the brand from the luxury industry from the jump by championing a size-inclusive offering that reimagines staples through deconstruction, color, and texture. Her unique, distinctive take on ready-to-wear has translated into a desire to design bridalwear, which debuted just last month.
For those who are unfamiliar with your work, how did you come to work in fashion? What drew you to the design aspect of the industry?
I was drawn to fashion at a young age. As a child, I remember watching my mom get dressed for work in the mornings and waiting to raid her closet. She was my introduction to style, and I took inspiration from her well-tailored suits that later inspired some Hanifa pieces. Although I never went to design school, I embraced the fashion all around me and started working through my passion to build a brand that reflects that.
You founded Hanifa in 2012—what compelled you to start a brand? How do you feel the brand has evolved over the years?
While working in retail and learning the business of fashion, I was compelled to start my brand for what I felt was missing at the time—bold, sophisticated silhouettes for women of all sizes. Naturally, we’ve evolved as I evolve. When I started Hanifa, I was in my 20s and in need of a birthday dress. Today, I’m a mom, a fiancé, a creative director, and a CEO. It’s fitting that Hanifa Bridal launched while I am a bride-to-be myself. Over the years, I’ve challenged myself to reach for more while embracing the ongoing life changes. I’m always thinking about new ways to connect with the Hanifa woman by first connecting with myself.
Speaking of evolution, you decided to make a foray into the bridal space earlier this year—what compelled you to launch a bridal collection? What do you feel the brand brings to the space that might have been missing before?
Launching Hanifa Bridal has truly been a full-circle moment. My brand began by taking custom orders and making some bridal looks for clients, and I have been looking forward to the moment when I could produce an entire collection. This collection represents the culmination of my years of experience in curation, attention to detail, and exploration of the theme of love. I feel that Hanifa Bridal brings self-love to the space, emphasizing the importance of self-worth before marriage and drawing inspiration from the bride of Christ as a symbol of devotion and grace.
We’ve seen the largest cultural shift around how weddings are perceived and planned in the past few years—what do you feel has contributed to that change? How, if at all, do you feel the brand is helping contribute to that change?
I feel that this generation of brides doesn’t want to be boxed in within any facet of their lives. They want their day to truly be “their” day in the purest form of what makes them feel beautiful and serene. As a brand that encourages our customers to envision their highest, most authentic selves, I like to think that we’re leaders in the space of helping women to feel seen. I also think that’s the reason for the shift—women valuing themselves above all.
Any parent knows that there are a few essentials you simply can’t leave the house without—your baby’s necessities. But lugging around a large, heavy diaper bag that looks like, well, a diaper bag isn’t always pleasant. The solution? Designer diaper bags. Yes, they exist, and yes, they’re proof that something as utilitarian as a practical carryall for your baby’s must-haves can look incredibly chic. Better yet, some don’t even look like diaper bags at all, but they’re just as functional with all their compartments.
Before you get scared off by the idea of a designer diaper bag, hear us out. They may not come cheap (some can ring in near the $3000 mark), but they’re a true investment piece that you can use time and again, and it doesn’t even necessarily have to be for carrying diapers, formula, etc. Plus, they’re made to last thanks to the top-quality materials and expert craftsmanship.
Ahead, we found the 22 chicest designer diaper bags to add to your shopping wish list ASAP. Trust us—these are stylish but still extra functional, and you probably won’t believe they’re actually diaper bags.
Have you ever wondered, “Is this really worth the hype?” In the age of social media, it can be easy to get caught up in the buzz surrounding viral trends or rising labels. Sometimes, you need an external gut check that can tell you if that handbag is worth securing—luckily, you have us. As editors, we pride ourselves on being able to shift through the noise of the digital landscape to give you an honest run-down of what really matters. Of course, that’s not to say our work doesn’t come without challenges, as so much of what’s deemed “valuable” in fashion these days seems directly correlated to a brand’s popularity rather than what they bring to the table. However, there is one brand that, in our mind, brings receipts to back up the hype: Cult Gaia.
On any given day, you can scroll through social media and see enormous excitement surrounding this brand’s ready-to-wear collections. But what makes this brand worth shopping isn’t the buzz…it’s the bags. Ultimately, the accessories are what cemented the brand’s cult status (excuse the pun). So, when shopping this highly sought-after brand, there’s no better place to start. But, for the bag fanatics (like myself), choosing just one purse to buy is akin to a mother picking her favorite child. In an effort to help you narrow down your shopping list, we’ve done hours of research to identify the best Cult Gaia bags. Considering popularity, quality, price point, versatility, wearability, longevity, silhouttes, and uniqueness as a metric, we narrowed the list down to six styles that make for great long-term investments. If you thought that this brand was all hype, these bags will prove otherwise.
Shopping for your favorite designer is always a treat, but scoring that bag you’ve had your eyes on for months on sale? Now that’s something worth celebrating.
Right now, selected Tory Burch shoes and handbags are on sale for up to 30% off at Saks Fifth Avenue. Starting today, you can pick up perennial favorites like the brand’s iconic ballet flats and newer items like the highly covetable Lee Radziwill purse.
With hundreds of items to choose from, it’s impossible for shopping carts not to get full rather quickly. But we’ve whittled down the list to just 18 of our favorite pieces. At the very least, we’ll be buying new shoes and a bag to carry us through the rest of the fall—and maybe begin our holiday shopping, too.
If I’ve learned anything in my six years as a fashion editor, it’s just how much those in the industry lust over a good collaboration—emphasis on the word good. The concept of two brands coming together is nothing new, and in and of itself, nothing exciting. But when one partnership comes along that checks of every box—it feels authentic, there’s a reason it exists apart from that it can, and the clothes are chic—it stops everyone in their tracks. And then, it sends them scrambling to for their wallets.
Such is exactly what happened when, midway through August, Banana Republic—a brand that’s having a moment all on its own—announced an upcoming team-up with one of New York City’s buzziest design talents, Peter Do. Do, who’s namesake label has become one of the New York fashion scene’s favorites for timeless yet modern and cool wardrobe staples, is on the rise, with a new title as Helmut Lang’s creative director and Paris Fashion Week now added to his resume. But back then, you couldn’t buy it, and had no idea what the clothes would look like. That’s no longer the case now, though.
Almost two months after the word got out about the forthcoming line, Do’s Paris show doubled as a debut for a handful of the collaboration’s pieces, stirring up significant buzz. And this week, after everyone in fashion (myself included) had made their wishlist from the runway, all 36 items from the collection—ranging from basics like tanks, trousers, and button-down shirts to statement outerwear—are available to purchase. Well, most of them. Some have already sold out. Scroll down to shop the collaboration of the year before it’s too late.
Your clothes and handbags are at the forefront of sustainable design. How did you get the idea to use cactus and eucalyptus fibers in your production? Why is sustainable production so important to you?
While living in San Francisco a few years ago, I came across mushroom leather, which sparked a huge interest in leather alternatives. It was too expensive for me at the time, but I luckily came across other options such as apple, grape, pineapple, and finally cactus leather, which I love because, unlike most options, it doesn’t use plastic to put all the components together.
Additionally, it has a similar look and feel to traditional leather, which is quite incredible. Our cactus leather is grown on a farm in Mexico solely on rainwater and uses 1/5 the amount of water to produce as traditional leather. It is also partially biodegradable (cactus part), and the remaining components (bio-based PU, not to be confused with conventional PU) are highly recyclable.
Do you have a favorite piece from your line right now? Anything that you’re particularly excited about?
Yes! Our best-selling style Agave Triangular Tote in our limited-edition tomato-red colorway, which we’re soon launching in a limited-edition electric blue as well.
It doesn’t take much these days to conclude that so many tragedies are happening in the world—one only needs to open a newspaper or their social media app of choice to witness those factual brutalities. But for some, that reality isn’t something you can flip or scroll past, as it lands so much closer to home. For those with Ukrainian roots, the headlines that have surrounded the country’s ongoing war with Russia are a reality that’s influenced every aspect of their lives for years.
It wasn’t so long ago that Russia first annexed the Crimean peninsula back in 2014 as an aggressive territorial grab. But for the first time in nearly eighty years, we’ve seen the first-ever land war in Europe begin again. When Russia made its first air-raid invasion into Kyiv in February of 2022, that moment forever changed the lives of millions of lives in a way that no single headline could ever fully humanize or honor. However, as the Ukrainians have mounted their counter-offensive, we’ve been thinking about how imperative it is to continue to shine a light on what Ukrainian creatives are facing.
It’s more pivotal than every to not only honor the plight, trauma, and inhumanities many Ukrainian citizens face now but to show their resounding strength in the face of such challenges. And while fashion can feel trite compared to all the other tragedies happening in the world, it can also be its own form of fortitude in the face of such darkness. Or at least, that’s how many Ukranian creatives living through the daily horrors of the war and continuing to run businesses see it. For so many, Ukranian emerging fashion brands, it’s not just important to keep creating clothing in the face of the war for pragmatic reasons—for them, it’s vital.
In light of the continued conflict, we reached out to a group of eleven fashion designers to have them share what it’s been like to continue creating amidst the war. We discussed their challenges, hopes, fears, and vision for their brands and what the international fashion community can do to support them right now. Their work is a reminder that art can act as a beacon of hope in the face of great uncertainty.
About the brand: Founded in 2010, the Ukraine-based namesake label has gained international acclaim for its womenswear collections that play with femininity through tailoring. Ahead, we spoke with the brand’s founder and designer, Anna October, about the brand and how the war has impacted it.
For those who are unfamiliar with your work, how long have you been in the fashion industry? And how has your namesake label evolved over the years?
Anna October: I was born and raised in the industrial city of Zaporizhia, Ukraine, which, for that time, had little to offer regarding design and aesthetics. At 17, I moved to Odesa, where I got an education in fine arts at the Grekov Odesa Art School, one of the oldest and most renowned art schools in Ukraine. I launched my first capsule collection in 2010, and it quickly gained the attention of the fashion community. Since then, I’ve achieved incredible results, including being shortlisted for fashion’s most prestigious prize for young designers LVMH Prize in 2014. Along with becoming part of Mercedes-Benz’s “Generation Now, Generation Next,” a project aimed at highlighting international talents in the sphere of fashion design. Those opportunities have allowed the brand to increase its presence in retail spaces such as Moda Operandi, Galeries Lafayette, SSENSE, FWRD, etc. All of this culminated in the chance to present our collection at Paris Fashion Week for the first time in 2022.
How would you describe the aesthetic world of your brand? Who is the Anna October girl?
AO: Our collections express a spirit of sensitivity and freedom. I design to inspire women to perceive themselves happily and courageously. I hope the brand contributes to the female empowerment movement by allowing women to be pleased by their appearance. We have to get back to becoming friends with our bodies; I want women to enjoy themselves and appreciate their bodies, which allows them to feel the world around them. My pieces are just one of the tools that help to make this happen.
One thing that makes your work so special is your attentiveness to the female form through your clothing—for you, what power does tailoring hold in highlighting the beauty of our bodies? What role do you hope your clothing plays in how consumers perceive themselves?
AO: Cut and fit is what design is about; for me, it’s the core of my work and what I pay attention to the most. I strive to develop shapes and designs that follow a woman’s body. It should not be a cover but a veil enveloping her body and following her movements; this is the most natural and harmonious approach to a woman’s clothes. Of course, I love the bias cut; I love fabrics that are quite dense but flowing enough and emphasize the beauty of the female body. I’m always looking for details that look interesting on the skin. I love the female body and sing an ode to it in every collection.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
AO: At the beginning of the war, I was forced to seek shelter and went to Paris. I had to leave all Anna October pieces in our studio in Kyiv, but over time, my team managed to transport them to Estonia. As a result, the work system has changed completely. Now we work between three countries—we produce everything in Ukraine, send orders from Estonia, and I work in France. The war accumulated all the strength my team and I had. We had no interruptions or delays and resumed our work just a week after the full-scale invasion started. The supply chain is the biggest issue because everything takes twice as long now; you need at least two weeks to deliver something to or from Ukraine because there’s no air traffic. But we are coping with it and still aim to grow the business even in this environment. We need to work in the context of the fashion calendar, and any of our difficult circumstances can’t affect the fact that we must continue to produce everything on time. And so we do it.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war? What, if any, has the creative process given you during this time?
AO: As Vita Sackville-West said, “Small pleasures must correct great tragedies, therefore of gardens in the midst of war, I bold tell.” My goal is to be useful and create something to improve their lives. I’ve been doing this throughout my collections, which is how I carry out my mission. Broadcasting my aesthetic vision seems like a meditation. If I have the chance to create, if I have the strength to do it under any circumstances, if I’m supported by my team, friends, and people worldwide, then I have to do it. Creating is how I feel useful. Altogether, I love making clothes; this is my most natural state. Being creative in the face of war gives me strength and hope.
How can the international fashion community continue to support Ukrainian creatives through this time?
AO: I wish the fashion community would pay more attention to the war in Ukraine and people who were forced to leave their homes and provide more collaborative support, as they would if this happened to their neighbor. The war cannot just stop unless we win it. We are not waiting; we are fighting and need continuous government and industry support. The horror of war my country and people are facing is beyond scary, and I don’t want other countries and people to go through it. I know humanity has the power to stop this war; people have the power to demand it. So please do it in any possible way.
About the brand: Kyiv-based designer Elena Reva founded her namesake label in 2012 with the goal of creating a capsule of luxury essentials including silk dresses and sculptural corsets that have become brand signatures. Here, read our conversation about the brand and how Reva is navigating her business through the war.
When did you launch your label, and what compelled you to start it? How has the business evolved over the years?
Elena Reva: My journey into the fashion world began at 15 when I ventured into modeling. The experience connected me with designers during fittings and shows and allowed me to grasp the art of sewing clothes. It was a crucial step that eventually led me to my true calling: clothing design. Elenareva was established in 2012 when I inaugurated a flagship showroom in the heart of Kyiv, where all our collections are meticulously crafted; that year also marked the debut of my first collection at Ukrainian Fashion Week. Since then, we’ve expanded Elenareva’s reach further, making its presence felt at the Paris showroom and gaining recognition across the Middle East and Europe right after its inaugural season. But I’m most proud of the fact I was honored with Ukraine’s “Best Fashion Awards” in 2017, a testament to my dedication and creativity in the industry.
You’ve described the brand in past interviews as “semi-couture.” What do you mean by this? How does this approach differentiate you from other ready-to-wear labels?
ER: Demi couture forms the cornerstone of our offerings, encompassing refined occasionwear, expertly tailored suits, and timeless staples. The heart of our brand identity beats in sophisticated attire, including silk dresses and corsets, designed to elevate both special occasions and everyday moments. Distinctive to Elenareva are our sculptural corsets and flawless bustier tops, which embody femininity and grace. Amidst the celebration of women’s allure and self-assuredness, meticulous craftsmanship and premium fabrics remain our unwavering focus.
You regularly collaborate with Ukrainian artists to introduce exclusive prints throughout your collections. Why is it important to you to support your local art community and give them this platform?
ER: Art serves as a profound wellspring of inspiration for me. Through collaborative efforts with Ukrainian artists, garments acquire enriched significance, weaving a narrative that is both robust and profound.
Which part of Ukraine are you originally from? How do you feel your heritage has informed how you approach style? How does it influence your collections on the whole?
ER: Born in Kharkov, my style undoubtedly matured in Kyiv. My purpose revolves around upholding femininity and elegance channeled through minimalist and refined designs. Capturing a sense of individuality and feminine empowerment, rooted in the diverse preferences of women irrespective of age or lifestyle, serves as my guiding principle.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
ER: The most significant change is that I no longer have the opportunity to work with my team daily. I now operate predominantly online. We have overhauled our work system entirely, primarily focusing on conducting sales through digital platforms. While this new approach is different, it has brought about unique benefits. We have adapted and thrived in this new reality, embracing innovative ways of working.
Being that it is such a tumultuous time, how, if at all, are you adapting the business for the future? What are your hopes for the future, in general?
EF: Currently, we’re proactively exploring new markets, engaging in online sales, and collaborating with influencers. Sharing my creative vision and beauty ideals with the world brings me immense satisfaction and keeps me going. Simultaneously, I’m a staunch advocate of sustainable living and integrate ecological principles into our practices. We embrace 100% natural eucalyptus fabric, offering breathable, absorbent, lightweight, and soft garments. Our commitment to sustainability extends to not using real fur, and we frequently address ecological concerns within our collections. For instance, our recent collection focused on water—a symbol of renewal, movement, and life source. This perspective also sheds light on ocean pollution and the environmental risks certain lifestyles pose. We’re of the mindset that fashion can shape a better future.
About the brand: One of Ukraine’s most notable fashion labels, Bevza is a reflection both of its serenely minimalist aesthetic and the strength of the women who wear it. Ahead, we spoke with designer Svitlana Bevza about her Ukrainian heritage and the power of storytelling through fashion.
You founded Bevza back in 2006—what compelled you to start a brand? And how has the business evolved over the years?
Svitlana Bevza: My early childhood dream was to become a fashion designer. I remember being five and doing some sketches with the house and telling my mum that I wanted a “fashion house” because I thought that it was literally a building with a huge wardrobe. Of course, now I’ve transformed it into an actual business model. I started with a small local atelier in 2006—long before the Instagram and Facebook era (laughing). Since then, I’ve been able to build the brand to a point where we’re stock-listed in some of the strongest retailers in the world (e.g., Bergdorf Goodman, Moda Operandi, Selfridges, Printemps, etc.), showcase the collections for 12 seasons during New York Fashion Week, and dress stars like Dakota Johnson, Gwen Stefani, Sophie Turner, Bella Hadid, Katie Holmes.
How would you describe the aesthetic world of your brand? Who is the Bevza girl?
SB: The brand’s aesthetic completely reflects my values and my lifestyle. I’m always aiming to use the collections as a form of storytelling of my roots in a modern way. Ukrainians are still struggling, and for me, it is vital to revive the cultural part, show it to the world, and always stand by the good reputation. My Bevza girl is elegant, and by that, I mean their general approach to life: how they treat themselves, the people around them, and the planet. Our brand contains a sustainable approach as we do as much as possible to produce from recycling and upcycling fabrics with zero waste and create timeless pieces. It might sound cliche because we hear phrases like “timeless” or “old money” so much, but I prefer to create things that last for a long time, pieces that will become the staples of your wardrobe. The Beveza girl always invests in the best quality clothes.
You’re originally from Kyiv, Ukraine—how do you feel your heritage has informed how you approach style? How does it influence your collections on the whole?
SB: Initially, my style preference was informed by my teenage years in the late ’90s in Ukraine. We had a deficit of everything—information coming from abroad, magazines, styling—so we had to form our vision in a specific way. As a Ukrainian, it is important for me to show the specificity of our cultural heritage through my work. Being a minimalist label, we implement our codes in garments; you can see that reflected in the spikelets in the jewelry pieces as the main symbols of our homeland. Or you can see the braids or the cuts of traditional Ukrainian ethnic garments in our pieces.
Last fall, you debuted your collection in Paris for the first time after eleven years of being at New York Fashion Week—what was that experience like for you? And what was the inspiration behind your F/W 23 collection?
SB: It was extraordinary. I wanted to do a presentation in Paris because I wanted an intimate format to show the concept of the collection, and the pieces themselves needed stillness to be shown. The concept was “birds of hope,” which was visibly embodied through jewelry and bags in the shapes of eggs. And the collection itself was only black and white to represent the radical question of life and death. White always symbolizes the revival of life and new beginnings, and the color has prevailed in each Bevza collection. So, I wanted to show this collection in the form of stillness, a kind of silence, to make you think of these questions. We also did a campaign shoot and video outside Paris with the photographer Masha Cairo, videographer Vlad Dubovskiy, and art director Anton Belinskiy. We wanted it to represent the cycles of life and women moving through them. We showed that through archetypes of youth and the mother and her maturity. We showed that through a woman with wings who finds freedom from being responsible for decisions and her choices. We showed all this beauty and complexity of life, which I am so grateful for.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war? What, if any, has the creative process given you during this time?
SB: For me, the creating process is the feeling that I continue to live, to create something that has its own life. This is part of the drive for me and my team. I don’t just create clothes; I create senses. I’m trying to use my voice to show the world there’s something good and beautiful about Ukranians. For me, as the creative director, this is one of the main missions and responsibilities of Beveza now.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
SB: We are still facing everyday challenges. While answering this interview from my office in Kyiv, there was another raid alert; it happens almost every day in Ukraine. We’re checking telegram channels to understand from where the rockets or drones are flying—this has been part of our life since February 2022. The war has changed the lives of all Ukrainians. Of course, it has hit businesses, as well. In the first months of the war, we were completely blocked from making deliveries, but luckily, we had support from buyers from all over the world who wrote to us that they would wait for the orders. They didn’t cancel. Once we restarted our business, we tried to relocate the production to different countries, but many payment systems to and from Ukraine were blocked. Even importing fabrics into Ukraine has been a challenge. But for now, Ukrainians, our clothing producers, and our partners have shown huge resilience. For me, it’s essential to continue to produce in Ukraine to show quality to the world. And particularly for our artisan partners, the work is an emotional savior because that means that they continue life, that they’re not sitting still and being scared. Our two jewelry partners in Ukraine make our iconic spikelet pieces, and they recently faced attacks. One of their offices was utterly destroyed, so all patterns, sketches, and molds had to be restarted from scratch. And most of the men producing alot of our previous collections have been taken away to the army, so now primarily women are the artisans creating everything you buy from Ukraine.
Photo:
Courtesy of Hvoya
About the brand: Designer Simich-Moiseienko Mariaconceived of footwear label HVÓYA before turning 19. Today, the brand’s eclectic lens on minimalist flats and sleek ankle boots has caught international attention counting Ukrainian first lady Olena Zelensky as a fan who wore a pair of its flats on the cover of American Vogue. Here, we spoke with Maria on building and maintaining a brand throughout the ongoing war.
For those who are unfamiliar with your work, how long have you been in the fashion industry?
Simich-Moiseienko Maria: On the eve of my 19th birthday, I decided to pursue my own business. The same year, I opened a small clothing store located in an apartment—nothing fancy. I did it all by myself, and Pinterest provided many ideas for the space. Back in 2015, it was very common to have a small showroom, as many Ukrainian brands began to actively appear after Russia’s first invasion of Crimea in 2014. At that time, as a nation, we embarked on a path of paying attention to what was happening within the country and working to recognize its numerous talents and opportunities. For me, a part of that journey was allowing my curiosity and fearlessness to drive me to create shoes. Then, I realized I had fallen in love with creating footwear, and HVÓYA was born.
Why did you decide to focus on flats and low heels? Which was the first pair you launched with?
SMM: The first ones were minimalist nude-colored sandals with low heels. Now, I would describe them as boring and definitely in need of improvement. But if it weren’t for those sandals, there wouldn’t be HVÓYA now, so I am still very grateful to them! Perhaps we had shoes with heels for a while, but I soon gave that up based on my own feelings. Personally, I have no need or desire to wear high-heeled shoes. The pace of life and the number of roles in it—designer, manager, mother, wife—are such that no matter how comfortable high-heeled shoes may be, they still end up being uncomfortable. I am not willing to endure discomfort for the sake of slimmer ankles or extra height; that’s why I am a 100% customer of my own brand. We don’t compromise between comfort and style; of course, not everyone shares our vision of “beauty.”
How would you describe the aesthetic world of your brand? Who is the Hvoya girl?
SMM: The brand embodies a blend of intellectual minimalism, eclectic elements, romantic flair, and a rebellious spirit. A HVÓYA woman can be anyone—she can have any profession, be of any age, be a mother or childfree, be married, be in an open relationship, or be in a relationship with herself. However, she will undoubtedly be free in her self-perception and self-expression and be liberated from the judgments of others. She chooses herself and grants herself the freedom to be whoever she wants to be, just as she desires today and every day.
The Ukrainian first lady Olena Zelensky wore a pair of your ballet flats in her American Vogue cover image last year. That must have been a huge moment for you. What did it mean for you to see your shoes representing Ukraine in such a high-profile shoot?
SMM: My husband and I were driving in the car when I spotted the cover; we both screamed with joy simultaneously. It was shocking and a major surprise! No one from our team expected such news. In Ukraine, this cover had a significant impact and ignited public discussions. Many didn’t perceive Olena Zelenska as feminine. But what more natural stance could there be for a strong-willed woman, the spouse of the country’s president, during a full-scale war? In my opinion, everything was very authentic and powerful. By the way, people still come to us and ask to try on ballet flats like the ones on the Vogue cover.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
SMM: Even before the full-scale invasion began, we discussed with the team what to do in case of war—everyone believed we might stop, possibly forever. After February 23, 2022, we did stop for a bit. But two weeks later, we organized a charity sale of all the items in stock with a 50% discount, and the proceeds were donated to charitable funds. Unexpectedly, we sold everything within a few days, which was surprising because who needs shoes and bags when life has reached a standstill? Yet, Ukrainian women were buying red shoes, a symbol of their celebration of victory—that’s the kind of spirit Ukrainian women possess. Back then, it was incredibly emotionally challenging for everyone; the prevailing thought was that your life had been taken away. And this feeling was universal throughout the country. But now, we have adapted to shelling, explosions, and alarms. Even as I write responses to these questions, in the first hour of the night, an alarm echoes in Kyiv: there’s a threat of ballistic missiles. I move my child to the bathroom floor, onto a special mattress for such situations, and I carry on. And, of course, the business was most affected by the shelling of the energy infrastructure and the lack of electricity. It’s pretty simple: no power means no work. Electricity was often only available for a few hours at night. Each district, city, street, or house had its unique schedule of outages; thus, aligning production processes sequentially was exceedingly difficult.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war? What, if any, has the creative process given you during this time?
SMM: First and foremost, by continuing, we provide people with incredibly essential jobs in times of uncertainty—this is a clear source of stability. You can hold onto it and know that tomorrow, for instance, everything here will remain unchanged. During times of war, many things lose their meaning for a person. Among them, many individuals question the purpose of their own existence when so many tragedies are happening every day. Work gives a sense of purpose; it involves you. It could be fashion or any other activity. But as long as you know you’re needed, you hold on. From this period, we created our most complex collection when, seemingly, everything should have come to a halt. We made our most beautiful collection because the best time for it is right now—this is precisely what our summer collection, Golden Times, is all about.
About the brand: In 2017, designer Mary Furtas turned her obsession for comfortable and functional partywear into her A-list-adored brand, Cultnaked, which has had a meteoric rise in the years since. We spoke with Furtas about the brand’s evolution, her obsession with quality and fit, and the need to persevere throughout the war.
When did you launch Cultnaked, and what compelled you to start a brand? And how has the business evolved over the years?
Mary Furtas: I have been in fashion since I was 15; I started working as a fashion photographer, and then I decided to launch Cultnaked in April 2018. I started a brand for girls like me who needed a comfy yet sexy wardrobe for everyday life and parties. The first hero product was a skort, and it took off really quickly, conquering the hearts of like-minded women. Also, I was eager to bring something new to the fashion business vision, creating an on-demand model and dismissing seasonal dressing whatsoever.
Since your 2018 launch, you’ve grown the brand tremendously, dressing A-listers and It girls all over the world. What stands out as your proudest moment to date?
MF: My proudest moment to date is making it into the Vogue Business 100 innovators list thanks to the structure of Cultnaked, which operated on a made-to-order basis. It’s honestly wild to think how much the brand has grown.
Apart from the brand’s party-ready aesthetic, the pieces are incredibly well-made and surprisingly comfortable. Why is the quality such an important part of your brand? What made you want to focus on perfecting fit and feel?
MF: Comfort and quality are the main factors in the longevity of a product. If the item has a low price per wear and keeps on performing, it’s as sustainable as a fashion product can be. We’re constantly exploring different eco-fabrics, such as the sea plastic used in the Stardust pieces.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
MF: When the war started, I thought it was all over. I had a young baby, and I was lucky enough to move my family over to Europe. But many of my team didn’t leave; they wanted to return to work as soon as possible and prove that we could keep our country alive. There have been huge obstacles along the way: power outages, our spaces being bombed, and attempting to ship wholesale and customer orders when borders are closed. But Ukrainians are resilient; we always find a way around the issues. We continue to produce the entire collection out of our Lviv-based atelier. I’m back and forth now between Europe and the Lviv studio, working closely with the team to create collections we’re proud of. Somehow, through all of this, the business continues to grow, and people continue to get behind what we’re doing.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war? What, if any, has the creative process given you during this time?
MF: Creating is the opposite of destroying. Ukrainians love to create, and we are good at nourishing their homes, plants, projects, kids—basically anything. I keep doing what I do best, and it gives me life. When I’m alive, why not give it all? If not now, when?
How can the international fashion community continue to support Ukrainian creatives through this time?
MF: Russia has tried to destroy our lives, but luckily, they don’t have control over that. It has been a very tough ride, and it continues to be for our country. There are regular rocket and drone attacks on our cities. I don’t think it’s easy to comprehend, even for us living in this nightmare, because it’s actually crazy. But I think the best way the world can show support is by not only telling Ukranian stories and supporting small businesses but by not giving a platform to Russians. Ukrainians deserve that respect.
Photo:
Courtesy of Viktoria Udina; Courtesy of Nué Studio
About the brand: Nué Studio is a line of seasonless, investment-worthy partywear. Often compared to jewelry, the brand’s signature elevated take on crystal embellishments has earned it a cult following on social media. Designer Viktoria Udina spoke with us about her brand and the power of the global Ukrainian community.
For those who are unfamiliar with your work, how long have you been in the fashion industry? And what compelled you to start Nué Studio in 2019
Viktoria Udina: I’ve always been into fashion since I was very young. I was passionate about styling and finished a few courses, but I never thought I would have a brand one day. My love for fashion stems from my family, as I used to work in a fan-run textile business, so it was obvious for me to be involved in this sphere. But, I had no experience in creating a brand—I only had a financial education and a few specific fashion courses. Yet, I had an enormous desire for creativity and self-expression, so I finally warmed to creating a small drop label. I created only a few statement pieces without a business plan, and it worked. The brand has evolved so much since then, but I’m so happy I went through all the processes on my own, as I can define myself as a designer and an entrepreneur.
Your collections often feature show-stopping bejeweled elements that Ukrainian tailors create—for you, how important is it to champion craftsmanship in each of your collections? And is the process of working with artisans a collaborative one for you?
VU: Nué Studios is often compared to jewelry—primarily for the filigree work with rhinestones—and I’m proud of it. Implementing handcrafted techniques is our distinctive feature and the most essential part of my creative process. We source artisans who love to create with their hands, and we want to champion their skills through our designs. There is a definition of “jewelry wardrobe” – decorations you wear daily or occasionally. The ethos behind the brand is all about creating a wardrobe of clothes just as precious and essential as jewelry—the recognizable garments, radically changing the perspective of the look, which are intended to remain relevant for years to come.
How would you describe the aesthetic world of your brand? Who is the Nué Studio girl?
VU: The Nué girl knows that she is her greatest treasure. Her personality, intelligence, body, sensuality, and freedom to express herself should be honored. Every day for her becomes a celebration of life—a holiday without a reason nor a destination, uncovering the many different shades of self-love. The brand celebrates the concept of prêt-à-party with scintillating sexy pieces cut in the signature rhinestone fabric and elegant silk gowns and highlights the handmade techniques. Our designs are all about embracing femininity and sensuality, which is timeless. It’s a perfect balance between sparkling and intellectual and emphasizing body positivity.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war? What, if any, has the creative process given you during this time?
VU: It was extremely challenging during the first months of the invasion as I literally thought I could never create something again; the pressure and anxiety were too high. However, it was all about not giving up on my dreams and what I had already achieved. Creating now is another kind of motivation I have never experienced—firstly, I have an enormous desire to live and encourage others to work and build. I believe fashion is not only about clothing in its ordinary sense—it always reflects what is happening in society. It’s an influential power in raising attention to the world’s changes, and it can significantly help if it is targeted at the right things.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
VU: The war has tremendously impacted the business. Sometimes, I look back, and it’s beyond my mind how we managed to maintain all the processes and even evolve the brand since the invasion started. There have been many challenges I can name: working under air raid sirens, constant anxiety about your physical well-being, power outages during the autumn-winter seasons when all your production depends on electricity, inability to receive your supply materials in time due to logistic delays, and so many more. But no matter what, I can’t betray my dream and the people working with me. I feel responsible for my employees and everyone involved in the brand. I admire Ukrainian entrepreneurs working in these challenging times. Building the businesses now is an excellent example of our fortitude, and it provides solid mutual support for each other during this time.
How can the international fashion community continue to support Ukrainian creatives through this time?
VU: Globally, raising more conversations about Ukraine is essential, but it can’t end with discussing how the community can help the creatives. It’s about urging the industry to take action by supporting and donating. That help could come in the form of grants for young creatives and students, especially those who fled their homes. But it could also provide specialists to help refugees find well-paid jobs in the countries where they are trying to start a new life. It also can come in the form of supporting Ukrainian businesses by offering more simplified terms of cooperation. And then, on a more practical level and specifically for the shoppers, I would ask for more patience and compassion regarding production and logistics as we continue in the face of challenging circumstances.
Photo:
Courtesy of Svitlana Filiuk; Courtesy of L’eskizzo
About the brand: Founded with the goal of providing suits for the modern woman, L’eskizzo is a study in contemporary tailoring for both the corporate and fashion-girl customer. We spoke with designer Svitlana Filiuk about championing Ukrainian tailors and dressing the modern “power woman”.
You founded your namesake label in 2015—what compelled you to start a brand? And how do you see the brand continuing to evolve?
Svitlana Filiuk: Before entering the fashion world, I worked in corporate business. I would go to the office every day and have regular meetings with customers where I needed to look professional, but I wouldn’t say I liked the outdated gray suits that the industry offered at the time. Being that so many inspiring entrepreneurs surrounded me at the time, that made me believe anything was possible and that I could create my own company. I decided to launch L’eskizzo as a capsule of tailored blazers as a new approach to office wear. Since then, we’ve been able to expand into ready-to-wear, but we remain focused on creating structured clothing that lends itself to becoming capsule wardrobe items.
Speaking of evolution, the brand’s initial focus was on providing suits for women, but it’s since expanded into offering more capsule wardrobe items. What did you feel was missing from the market before you expanded into it? And what, in your mind, constitutes an item being a great staple?
SF: While suiting remains our focus, we realize that our clients would come to us first to choose the suit for their special occasion, and then they would ask for complementary capsule items from us. That pushed us to expand past blazers and create a main product line, including accessories. For us, a great staple is something that has both masculine shape and feminine details in it, is of exceptional quality, is made of natural fabrics, and has complex detailed work—we’ve woven that into L’eskizzo’s brand DNA.
How would you describe the aesthetic world of your brand? Who is the L’eskizzo girl?
SF: If I were to summarize it shortly, it would be: “power dressing.” Our L’eskizzo girl is busy; she has a career, whether it be in a corporate environment, a creative startup, or as an entrepreneur. She knows the power of dressing and uses clothes to make an impression.
Being that tailoring is such a central part of all of your collections, what importance does the team place on championing Ukrainian tailors? And how have you been able to continue to support the artisan community through your work?
SF: Our tailoring clothing is complex, and no production can be outsourced while keeping the same quality. Thus, we created our production process, which is led by a community of Ukrainian professionals who produce complex blazers one by one, ensuring that only one artisan is responsible for the full chain of work. We set it up this way so that we help develop the knowledge and experience for our employees, and they, in turn, share it with others. For us, it’s so important for our work to champion tailoring and combining both masculine and feminine elements, so we’ve ensured our team has experience in both men’s and women’s suits. As an example, there are many oversized suits on the market, where the shoulders are slightly loose, but we worked with our tailors to implement a technique inspired by men’s suits from the ‘90s that allowed the fit of our blazer to be more fitted. It’s this collaboration that allows our pieces to shine.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
SF: That could be a whole separate story. We stopped all activities for several months when the full-scale war started, and all the team members moved to their hometowns, where it was safer for them. After some time, we restarted remotely by sending pieces by post. It must be mentioned that it was mainly the team’s request to restart, as it helped them to distract from constant bad news. There were attacks on electrical infrastructure; we didn’t have electricity during the winter, and we hardly could produce anything, just separate pieces on demand. But despite how much the fashion industry has impacted her, we are fighting to continue and even develop further. Looking at what our army is doing by protecting us, we have no right to stop.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war? What, if any, has the creative process given you during this time?
SF: Not everyone can go to fight in the war. But we feel that everyone has to contribute: pay taxes, support employees, help them remain safe and have the means to live, and donate, donate. But behind the physical needs are also psychological needs, both of the team and the clients. Creativity for the team and nice clothes for clients make them feel more “normal,” and that means that we contribute to the mental health of our Ukranian community. Moreover, we feel that creativity is even stronger during the war; we feel the power to create stronger pieces, and we see that those styles are well-accepted by customers around the world.
Photo:
Courtesy of Ivan Frolov; Launchmetrics Spotlight/Frolov
About the brand: Having been worn by some of the buzziest names in the music industry, celebrity-adored brand Frolov toes the lines between playful and subversive with its recognizable heart-shaped cutouts. We spoke with label’s the namesake designer Ivan Frolov on the brand’s influences.
You founded Frolov in 2015— what compelled you to start a brand? And how has the business evolved over the years?
Ivan Frolov: I truly believe that designing has always been my calling. I love storytelling and exploration, and this is an absolute natural culmination of my desire to convey certain messages to the world via fashion. For me, it’s never been just about clothes; I always considered it a mouthpiece that helps tell stories and share discoveries that impact society as a whole—which is why social responsibility has always been an essential part of our brand. We went through a major financial crisis, COVID-19, and are still in an ongoing war, but we keep working, showing the world our resilience and strength.
You’ve dressed some of the buzziest stars of the moment, including Beyoncé, Dua Lipa, Sabrina Carpenter, and even Sam Smith—what has it been like for you to see your work out in the world? And when you are working with a celebrity, is there at all any collaboration through the creative process?
IV: Every time a celebrity wears our pieces, it becomes a massive “dream come true” moment for our team and even our country. Unfortunately, many such successes for the brand occurred during the Russian full-scale invasion of Ukraine, and right now, the only dream we have is a total victory for our country in this war. Still, we see it as a fantastic supportive act and an opportunity to show Ukrainian culture and fashion to the world. And back at home, any reason to be proud of our brands is fundamental, as it acts as tremendous moral support for the nation. For us, it’s such a moment of pride, and it would never happen without my wonderful and hardworking team.
You’ve spoken about how you’re often drawing inspiration from the BDSM and travesti subcultures in your work—for you, what role can clothing play in pushing how we collectively view the gender binary?
I was always inspired by how people express themselves in the most different ways, exploring themselves and radiating their personalities and inner beauty. The discovery of your own sexuality lies in the core conception of our brand, and our items are aimed to help with those discoveries. Indeed, my first collections were very much inspired by BDSM culture and cinematography, which greatly enhanced its emotional impression. For example, Liliana Cavani’s The Night Porter was a huge inspiration to dive deeper into this theme and aesthetics too. My visit to the Sitges Carnival sparked another collection dedicated to transgender culture. I was captivated by how beautiful and interesting the perception of the human body and clothes can be. Using fashion as a global platform, we’re establishing a mechanism where our collections create conversations around essential themes such as gender equality and human expression.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
IV: The Ukrainian army right now is defending everyone from the biggest terrorist in the world, and we’re very thankful to everyone abroad for their support. Without it, we’d never be able to stand so strong for such a long time. And it’s not just about Ukraine, but also about our company in particular, too. We received massive support from the fashion community, who helped us to continue showcasing the brand on all international platforms and, therefore, continue our work. Despite that, we’re still facing the difficulties any other non-Ukrainian brand in the world doesn’t face: from the absence of air connections that transform into logistics difficulties up to basic fear of missile attacks. We survived the most brutal winter in our lives with tremendous electricity issues, and the following winter will likely be the same for us, too. But we’ve learned to fight willingly; nothing can stop us from creating and doing what we do best. This is our reality now, and we’re hardened by it. It’s vital for us to continue our production here, build our company here in Kyiv, and support our country as much as we can.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war? What, if any, has the creative process given you during this time?
IV: I never thought fashion was a trivial thing, but on the contrary, I feel it’s a powerful industry that brings people together and has a big educational impact on many who can pass it on. It covers art, cinematography, and society as well. That’s why it’s imperative for us to show that we, as a fashion brand, didn’t stop during the war. At first, our primary focus was on helping out and supporting volunteer initiatives and creating our own charity project, FrolovHeart. Now, we’re doing it in parallel with our main line of work and seasonal collections and drops. But we made sure the war didn’t affect our brand’s identity. What really matters is highlighting our strength—no matter the war, we keep doing what we’re best at: corsetry pieces, beautiful evening outfits, and custom looks. That’s where our real power lies. Even during the war, we can still show our best work and are very proud of it.
How can the international fashion community continue to support Ukrainian creatives through this time?
IV: I want to thank everyone worldwide for supporting us—for all the big moves and small acts of kindness. You are why we’re holding the fort against the Russian army. As Ukrainians, we’re giving it all; hopefully, we’ll soon celebrate this win together. So, I’m just going to ask: keep the conversation about Ukraine ongoing, support our talents, and purchase Ukrainian products, brands, and art. It’s not just about our economy; it’s about our survival. The war isn’t over yet, and we need to keep feeling the world standing strong beside us.
Photo:
Courtesy of Santa Brands
About the brand: Kyiv-based label Santa Brands has become an Instagram sensation for its nighttime aesthetic based on a signature sheer crystal fabric. Designer Iana Stanislavska spoke with us about pivoting from law to fashion and running a small brand throughout the war.
When did you launch Santa Brands, and what compelled you to start it? How has the business evolved over the years?
Iana Stanislavska: Before launching Santa Brands, I had a successful career as a lawyer. But my creative energy needed to be addressed, so I embarked on a new, exciting journey of launching my own label in 2019. What started as a small Instagram shop gradually became a full business venture—now we’re sold in stores all over the world, from Ukraine to The United States, and the list of clients keeps growing daily.
Where does the brand name come from? Is there a story behind it?
IS: I’ve named the brand after my daughter, Santa—my greatest source of motivation and energy. I wanted to create something that would make her believe it’s always a great idea to follow your dreams. Setting an example for her by being a woman in business is something that makes me work harder every day.
Your brand is based in Kyiv—how do you feel your heritage has informed how you approach style? How does it influence your collections on the whole?
IS: I believe that our dresses reflect the spirit of Ukraine and Ukrainians who try to remain positive, keep the fire inside, and enjoy their life even in the darkest times.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
IS: The Russian invasion has been a surprise for me, as for anyone else. The war has led to a number of challenges, such as undermined logistics, power outages, and constant missile attacks, putting pressure on the production process and supply. Still, we have managed to adapt, and now our production remains active even during power outages as we have our own reserve power supply. In addition, we have established new transportation routes that ensure the fast delivery of goods, even under uncertainty.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war? What, if any, has the creative process given you during this time?
IS: Fashion is the same business as many other industries. My business is important for my country as I employ many people, pay taxes, and promote Ukraine. So, when creating new dresses, I feel I do it to support my country in a way I can. In addition, I believe it’s important to remain a role model for female entrepreneurs in Ukraine who are seeking an opportunity to build their careers amid such uncertainty.
How can the international fashion community continue to support Ukrainian creatives through this time?
IS: Close ties with Russia if you want to be supportive. Fashion brands and beauty conglomerates are paying an enormous amount of taxes to the Russian government—stop fueling their war machine. It’s that simple.
Photo:
Courtesy of Kate Zubarieva and Asya Varesta; Courtesy of Sleeper
About the brand: Fashion-insider favorite Sleeper was founded in 2014 by former fashion editors Kate Zubarieva and Asya Varetsa. Its internet-breaking feather pajama set launched it to cult-loved status and shoppers keep returning for both day and nightwear. We spoke with the designers about their biggest milestones after nearly a decade of Sleeper.
When did you launch Sleeper, and what compelled you to start a brand? And how has the business evolved over the years?
Kate Zubarieva: We founded Sleeper in Kyiv, Ukraine, in 2014, at the height of the Revolution of Dignity and the subsequent war that unfolded in the country. We achieved some high points in our careers, so our experiences pushed us to create something new, something that belonged to us.
Asya Varetsa: Back on Christmas Eve of 2013, we were watching Curly Sue with our friends, and Kelly Lynch, who played Grey Ellison, was wearing a striped robe during one of the scenes. Kate and I exchanged glances and simultaneously decided that was a truly cool look. That night, Kate had a dream where she was standing in the middle of a pajama factory. In the morning, she called me to propose starting a homeware company. Six months later, Sleeper launched its first collection. In January 2015, Franca Sozzani, the late editor-in-chief of Vogue Italia, named Sleeper as her favorite brand of the month.
KZ: Since then, Sleeper has evolved from a collection of daywear pajamas handcrafted by the small atelier in Kyiv to the international brand that now also carries footwear, outerwear, athleisure, and beyond.
Despite its name, your clothing is widely regarded as much more than simply sleepwear. Why did you decide to start with a line of pajamas as opposed to any other clothing category?
KZ: When we started Sleeper, finding elegant and chic nightwear outside the luxury end of the market was challenging, never mind the loungewear that could be worn outdoors. We’ve decided to create the garments for ourselves—comfortable, good-looking, affordable, and filled with effortless elegance.
AV: Today, Sleeper suggests much more than sleepwear. Sleeper takes the feeling of comfort and the sense of home and weaves them into beautiful garments that are easy to wear. We have a small but authentic shoe line; we create accessories and swimwear, and this year, we introduced outerwear. Also, for the FW’23 season, Sleeper will unveil its first collection of pieces made from warm fabrics, making a signature feathered ‘Sleeper look’ chilly-weather friendly. The line is represented by blazers, maxi dresses, quilted jackets, ponchos, and a sweater created for a frosty season. And our new shoe style is mitten boots, inspired by our childhood.
Sleeper was an instant hit right out of the gate, and you were both named in Forbes’ 30 under 30 in 2019. What does success mean to you now, and is it different from what it meant to you in the brand’s earliest days?
KZ: Success has never been the aim, but it’s the sign that everything we do is in demand. That means that we can grow bigger and faster, and more people in the world can discover beautiful garments made by Ukrainian craftwomen.
Are you both originally from Kyiv? How do you feel your heritage has informed how you approach style? How does it influence your collections on the whole?
KZ: I was born and raised in Kyiv, with a short-term experience of living in Pyongyang, North Korea, in my childhood. I believe my origin and my roots are a huge source of inspiration and an essential part of my identity. I’m proud to be a Ukrainian. Ukrainians are truly talented, hardworking, and brave artists with strong spirits, a tender love for nature, and a deep connection to their roots. Our outstanding cultural heritage makes our nation authentic and clearly manifested. And undoubtedly, I feel it inside, and this is the thing that has a significant effect on my worldview.
AV: I spent my childhood in Crimea, which definitely influenced me: the seaside, beautiful landscapes, and warm-hearted Ukrainian people imprinted in my heart. Paying tribute to our ancestors, we use 100% linen fabrics, which formed the basis of the closing of Ukrainians during the centuries. The cut details for our core styles, such as Linen Loungewear Dresses and Romantica Linen Dresses, are also borrowed from Ukrainian bottom dresses.
Obviously, Ukrainians are grappling with the continued war against aggressions by the Russians—how, if at all, has the war impacted your business? What challenges have you faced in your day-to-day operations that people might not be aware are impacted by war?
AV: We had to rebuild our business processes and supply chain. Before the war, our headquarters were in Kyiv; all our seamstresses and the whole production were there. We had to temporarily relocate the production for the first year of the war and take care of the employees and their families. Fortunately, we have restored our Kyiv production, and our craftswomen continue creating beautiful garments there. And now, our Sleeper team is scattered all over the world. We coped with all the difficulties and expanded even more. We are constantly giving back to our community and supporting the Ukrainian economy and those needing help. That’s why we’ve launched the Sleeper Foundation, a charitable fund that aims to help civilians cope with the consequences of the war. An essential part of the fund’s activity is devoted to the Red Seam project—we produce pajamas for Ukrainian military hospitals. We provide our heroic defenders with the comfort and care they deserve.
Fashion can feel so trite compared to all the other tragedies happening in the world, but for you, why do you feel it’s been imperative to keep creating clothing in the face of the war?
KZ: It’s so important to keep doing the usual things during the war. It’s how people deal with the stress and defeat their trauma. Our Ukrainian women want to be beautiful, so they make manicures in the bomb shelters during the air raid alert. They want to dress up, it’s fantastic. We can’t let them down.
AV: Moreover, fashion is one of the industries the Ukrainian economy stands on. We create workplaces, we pay salaries and taxes, and it’s our duty to keep going.
During fashion month, the world gets enamored by giant, conglomerate-backed luxury houses and refuses to look elsewhere. On European runways, some of our editors’ favorite brands churn out look after look to a die-hard global audience that’s been following them for years. Fashion has always been a showcase of the glitz and glamour, but in an industry that feels overproduced and oversaturated, this editor has started to step away and think about the age-old question that fashion is all about: What happens to the little guy?
Every year, hundreds of talented designers present on a local level, showcasing their collections to a room of homegrown talent that has inspired theirraison d’être. Most of the time, these smaller-scale brands are some of the best-kept secrets in the fashion industry when it comes to raw and authentic talent. Such is the case of Seoul Fashion Week, which happens thousands of miles away from the chaos and circus of the “big four” fashion calendar. Over the span of five days, 30 South Korean designers get the chance to showcase their collections to the world thanks to the Seoul Metropolitan Government’s well-oiled operation to encourage both international and local buyers, influencers, and press to turn their gaze toward the East Asian fashion capital that’s slowly but surely gaining traction. After experiencing it myself, I can confidently say Seoul is the training ground for some of the industry’s most talented identity-driven designers.
Whether you’re a streetwear buff or a fan of simple and modern tailoring, the designers at Seoul Fashion Week have something for everyone. Below, browse six South Korean designers that need to be on your radar immediately before the world catches on.
Apart from the major fashion houses that have found ways to remain relevant for decades, most brands, like trends, cycle through periods of highs and lows. As hard as that may be to come to terms with, it’s the way of the industry. Consumers only have so much attention they can pay to fashion, which means that not every brand can sit at the helm forever. New names replace old favorites, and while we’ll never forget the designers and labels that came before, one of the most refreshing aspects of this business is the never-ending pool of fresh talent that brings forth unexpected trends and introduces us to unfamiliar perspectives.
As we speak, the next generation of industry-shaping designers is assembling around the world in established capitals like Paris and London as well as growing fashion bases like Cape Town and Barcelona. Rather than hold on to what we know, it’s our mission to usher in this collective of creatives, adding their pieces to our wardrobes and their stories into fashion’s history books. Leading the charge in 2023 are eight designers, all of whom have vastly different stories and craft vastly different pieces, ranging from ready-to-wear to couture. Keep scrolling to familiarize yourself with their work. Tip: Take notes. In fashion’s new world order, these are the names you’ll need to know.
Growing up with brothers, Alice Fresnel sought comfort in their oversize shirts and loose trousers, two articles of clothing that she could never find from womenswear brands. “No one was offering feminine yet comfortable clothes,” she tells us. Like so many designers before her, frustration was the root cause of her founding her brand, which she named Alfie. If she couldn’t find clothes that combined elegance and comfort, she’d have to make them herself. “I started developing the idea of Alfie while I was studying in Milan in 2019 at Bocconi University,” she says. “During this year, I had the chance to learn a lot about Italian craftsmanship and the beauty of a clean cut—I am a strong believer that the simplest idea stands the strongest and longest.”
For her debut collection, Fresnel studied the entirety of the ’90s, focusing on the era as a whole rather than just its fashion archives. “It is important to understand the broader picture and not focus on one theme only if you want to draw inspiration from a period in time,” she explains. “Naturally, my first muse was Christy Turlington. To this day, when I design a new collection, I think of how it would look on her and how she would style it.” When it came down to actually producing the collection, she was readying to move back to Paris after graduation and found an atelier in the French fashion capital that checked off every box. “Despite being told that it would be too expensive, my only focus was to produce really high-quality clothing that would last through time,” she says. “Three years later, our production is entirely based in Paris, and all our pieces are hand-cut before being sewn by the 13 seamstresses working there.”
Like so many around the world, Fresnel takes inspiration from the Parisian women she sees every day. “Paris is one of the only cities that is simultaneously full of energy and nonchalant, the same way Parisian women can be,” she says. “I design to dress these women, and I am always conscious of the fact that I want my collections to be easy to wear on any occasion. Elegant yet relaxed.”
Where do you go in Paris when inspiration runs dry?
I love to sit at cafés and watch people walk past. A single silhouette or attitude can catch my eye and inspire an entire collection. It is just so interesting to study how people hold themselves. How someone walks, talks, or dresses says a lot about them. But mostly, I am mindful of what my gut is telling me. I think creativity works best when it is guided by intuition.
There was never a question whether or not Mexico City–based designer Nia Thomas would go into a creative field when she grew up. “From as early as I can remember, I was always making things with my hands,” she says. “From hand-beaded necklaces I would sell at school for $5 to dance-recital costumes [that I would deconstruct and reconstruct], ideas were always brewing in my head, and art was a therapeutic release for me.” Thomas learned to sew at the age of just 13 years old in her aunt’s alteration shop and immediately began tailoring thrifted clothes to make them fit just the way she wanted them to. Becoming a designer and starting her own brand was practically written in the stars. “The moment I decided to pursue my career was after I had a fashion show/live-performance art presentation in October of 2018,” she recalls. “Seeing everyone’s reaction to the clothes and how I presented my concept was so empowering. People ran up to me after the show asking where they could buy the clothes immediately.” Two weeks later, about a year after she graduated from the Fashion Institute of Technology with a BFA in fashion design, her e-commerce website was up and running.
From the very beginning, Thomas has been adamant about her brand being a catalyst for change in the industry. “I wanted to integrate my core values into a brand, which includes ensuring that we create things in small batches with responsible production, that all of our products are artisanally made with an extreme emphasis on natural fibers using only plant-based dyes, and that we highlight diversity whenever possible,” she explains. “We don’t retouch our images, especially of our underpinnings, as we want our brand to accentuate the feminine figure in all of its natural beauty.” Women play a huge role in influencing Thomas’s designs, as does travel and the city she grew up in and continues to call home. “My design inspiration usually comes from many of my muses—such as Donyale Luna, Solange Knowles, and Donna Summer—but also my travels in places like Morocco, Costa Rica, Peru, and Hawaii,” she says. “The diversity in NYC inspires me the most. The way that all of the most intriguing cultures from around the world seamlessly wrap up in the bubble that is New York never ceases to amaze me.”
Where do you go in NYC and Mexico City when inspiration runs dry?
Since I’ve been spending so much time between NYC and Mexico City, it feels as if I have endless inspiration. From the vibrant colors of Luis Barragán’s house to the intricate lines of the Guggenheim Museum, architecture always stimulates me creatively. Also, street style in each of the cities is always a vibe. Seeing how people put together outfits in ways I would never think of definitely informs my design process. My personal favorite currently are very chic couples that complement each other’s style. I am constantly sneaking photos of outfit styling details I see on the subway or when sitting in the park.
Cynthia Merhej never felt like she fit into the traditional fashion-designer mold. Instead of giving up, she made her own mold, one that would allow for an Arab woman like herself who didn’t come from a classical fashion-school background to find success and garner acclaim within the industry. “I love world-building, and I love clothes,” she says. “I came to the conclusion that if I really wanted to make this happen, I would have to create my own space where I could combine my love for storytelling with clothes.”
In 2016, this dream became reality when Merhej founded her line Renaissance Renaissance, which is now sold in some of the industry’s most trusted retailers, from Net-a-Porter and Nordstrom to Moda Operandi and Ssense. “It’s been a very wild journey, which has had a lot of experiments—many not working out—but I learned huge lessons,” she says. According to Merhej, the first few years of Renaissance Renaissance were humble ones. “I started out in my mom’s atelier doing small collections and pop-ups and selling directly to my friends,” she explains. (Both Merhej’s mother and great-grandmother were couturiers.) In the years since, she’s tested a bevy of other sales models, only to come to the conclusion that those quaint methods of selling and sharing her brand with the world were the most sustainable and responsible ones. “I see unchecked growth to be something that is terrible for designers, mentally and creatively, and terrible for the planet,” she explains. Like in those early days, she makes everything at her family’s atelier in Beirut, a city that inspires everything she does in life and work.
“In Beirut, we have been through and we go through a lot,” she says. “What inspires me about this city is that we are made very aware of the temporality of everything.” Because of that, Merhej says that its inhabitants enjoy every second of life, dressing up and going out frequently, all the while knowing that everything could change in an instant. “There is a constant juxtaposition of decadence and decay that is very unique to us here and which inspires my outlook on life and my work,” she explains.
Where do you go in Beirut when inspiration runs dry?
Personally, I am very introspective, so whatever helps me recharge. Sometimes, I don’t have to go anywhere, and sometimes, it could mean a day at the beach.
For Gabriela Comella, following in her mother’s footsteps was never the plan. The daughter of beloved Barcelona-based fashion and interior designer Gema Sach, Comella went in the direction of journalism rather than design, but it wasn’t long before genetics took over and the itch to create set in. “I was always interested in aesthetics, so I started to create those bags I was looking for and couldn’t find at the market,” she says. According to Comella, at the time that she decided to go off on her own and start Gabriel for Sach in 2015, there was a gap in the accessory offering. She was constantly searching for bags that felt unique but also comfortable and practical. Nothing felt like her. “So I started to do my own patterns and search for local providers,” she explains. “Fortunately in Spain, there is a certain tradition for leather and production. Seeing how it was possible to convert my designs into a product was something that got me hooked and motivated me to continue.” In her mind, this was the best possible way to start—without the goal of becoming a designer clouding her creativity. “Without the pressure,” she says. At first, the brand lived inside her mother’s, but before long, she established herself but kept the name to remember her origins.
Comella’s surroundings, like her mother’s influence, play a huge role in her brand’s identity. “Everything is designed and made in Barcelona,” she says. This allows there to be a constant connection between herself and production. That way, her pieces are always changing and improving until the perfect final product is reached. “It allows you to be present in the whole production process, from the designing until the assembling,” she says, adding that the city’s diverse landscapes and architecture provide endless inspiration and vision as well. “I love to see how architects combine and play with color, materials, and forms. Fortunately in Barcelona, you can find a wide variety of modern and contemporary buildings, which I love to walk around.” Like in architecture, Comella feels compelled to design pieces that have more than one use and purpose, giving them a timeless character. “I hate that fashion has to be linked to temporality and expires every season. That’s why I defend pieces that last over time,” she says.
Where do you go in Barcelona when inspiration runs dry?
If you drive one hour north, you can get to the Costa Brava. It’s my way of taking distance from my city routine, [where I] hike, swim, and refresh my brain to go back to inspiration. Nowadays, city life is very demanding, so one of my better ways to reset and get back to it is staying two days a week away from that dynamic and just touch the ground. This is how the most genuine ideas emerge.
New York City–based publicist and creative consultant Camilla Mayer started her NYC- and Phnom Penh–based resort brand Nary in May of 2020 alongside her two sisters, Stephanie Mayer-Guidi and Sarah Mayer. Named after their Cambodian mother, Phannary or Nary for short, Nary was founded with the goal of honoring her and her survival of the Khmer Rouge. Khmer Rouge, or the Communist Party of Kampuchea, took control of Cambodia in the ’70s and was responsible for one of the most significant mass killings of the 20th century, with nearly two million fatalities, according to the BBC. “Above all, our foremost objective was to pay tribute to our mom’s heritage and make a positive impact in this developing country,” Mayer says.
To combat the dominance of fast-fashion production in Cambodia, Mayer and her sisters made a deliberate choice to establish a sustainable and ethical brand based in the city where their mother grew up, Phnom Penh, which is home to a number of small sewing centers. “By doing so, we create safe and meaningful employment opportunities for women who are vulnerable to exploitation in the realms of labor or sex,” she says. At these sewing centers, local women craft Nary’s beloved shirred resortwear using leftover deadstock materials from fast-fashion brands that manufacture nearby and oftentimes abandon excess fabric. “We tap into this secondary market by sourcing all our fabric locally, thereby significantly reducing our carbon emissions and limiting more waste,” Mayer adds.
As part of their mission to support the city their mother grew up in, rather than opening the first Nary store in NYC, where it would almost certainly be easier and more convenient to kick-start a brick-and-mortar business, Mayer and her sisters just opened one in Phnom Penh. This, despite being difficult, is what Mayer considers one of the many ways that Nary stands out against other brands starting out in NYC.
Where do you go in Phnom Penh when inspiration runs dry?
When we face a lack of inspiration, we make it a point to travel around Southeast Asia, reconnecting with its people and culture. This region is incredibly diverse, with stunning mountains, oceans, islands, and rainforests. It also has bustling cities like Bangkok, Thailand, which reminds us of our home city of New York City. The kindness and distinct culture of Southeast Asia greatly influence our designs and drive us to showcase them through our brand to a U.S. audience.
“Being a ’90s kid and growing up in the era of the rise of MTV, supermodels, and daytime soap [operas], I was a 5-year-old kid that was left in a chokehold, and I mean that in the best kind of way,” says Lukhanyo Mdingi of the inspiration behind his namesake fashion brand, which he founded in Cape Town in 2015. “The creativity and energy that centered around these worlds is something that was instant.” According to the designer—who was a finalist for the LVMH Prize in 2021 and one of three winners of the Karl Lagerfeld Prize that same year and has been featured in British Vogue—inspiration isn’t something he’s ever been short on, whether he’s getting it from the community he’s built around himself and the brand, those ’90s references he grew up on, or Cape Town itself. “There is a relaxed and eclectic sensibility that is woven within the city of Cape Town,” he says. “I feel that this is a sentiment that is indicative of the LM cosmology.”
Between all of these areas, though, Mdingi says that it’s his community that he owes his success to the most. “The premise of Lukhanyo Mdingi began with intentional and considered design,” he explains. “It was through the practice of design where I realized the value of collaboration. We’ve been fortunate enough to have an extraordinary cabinet of people that have added their time, talent, and trust as a means of service to the LM brand, and it’s been through their ingenuity and spirit that has made the label what it is today.”
Where do you go in Cape Town when inspiration runs dry?
My home or my studio. These are immediate spaces to me where I’ve created my own universe. These places spark a fire in my heart and bring peace to my mind.
Frustrated by the imbalance that’s present between men’s and women’s suiting for corporate workplaces, Sydney-based designer Gabriella Pereira left her career in finance to begin another in fashion. “I continually struggled to find chic and simple luxury suiting that was ethically made,” Pereira says. “My male colleagues seemed to have a plethora of options, but I felt as though the professional woman who wanted to look chic while not worrying about what to wear was not thoroughly catered for.” Now, after launching her brand Beare Park during the pandemic in 2021, Pereira uses the highest-quality materials found in Australia—mostly Australian merino wool—and has them woven in century-old mills in the Biella region of Italy. “From there, I selfishly design the collection around what I wish I had in my wardrobe,” she says, making only limited batches of each garment and relying on local master tailors to ensure that the craftsmanship in each piece can be felt when you put it on.
Sydney’s influence on Beare Park goes far beyond just manufacturing, though. “The brand has a distinct sensibility of ease and optimism that is synonymous with Sydney,” says Pereira. “My constant proximity to Sydney’s glorious beaches definitely influences the fact that every Beare Park piece can be effortlessly paired with a chic flat sandal.” For her, an ideal outfit consists of an oversize wool suit, an organic cotton tee, and sleek sandals. Dressing simply like this is at the core of the Beare Park world, Pereira insists. The ability to find pieces that check every box, after all, is the reason Pereira founded her brand in the first place.
Where do you go in Sydney when inspiration runs dry?
When I feel stuck creatively, I find there is nothing better than clearing a day’s schedule and spending some solo time with the heavenly freedom of no commitments. To invite true inspiration, I have to spend time with a calm and clear mind. Taking time away from our Redfern studio to be with my own thoughts is an important part of my creative process. It’s a challenge to pull away from the day-to-day of the business, but sometimes, the best inspiration will come during an unscheduled day at home spent cooking, painting, going for a long, meandering walk or drive. It’s been a real challenge for me to learn that you can’t schedule creativity and good ideas.
“I’ve always wanted to make clothes,” says Talia Loubaton, founder of the London-based brand Liberowe. “I was sketching before I could write my name.” It wasn’t until she was 15 years old, though, when she was at the Musée des Arts Décoratifs in Paris at the retrospective exhibition of Christian Lacroix that she realized exactly what it was that she wanted to design. “I remember being blown away by all the work, the details, the embroideries, and laces. … There was a little black bolero jacket styled on a puffy dress,” she recalls. Stuck on it, Loubaton says it was then and there that she knew jackets would be her life’s work. All these years later, despite a brief journey into knitwear during her studies at Central Saint Martins, they still are.
Loubaton started Liberowe in 2021 with the Raja Signature Jacket, which was inspired by traditional menswear jackets in India, called sherwani, that she saw during her travels in Delhi. “They reminded me of the opening scene of Manon 70—my favorite French movie from the late ’60s—starring Catherine Deneuve, in which she wears a Nehru-collar jacket,” she says. “I came back to London and started making my own version of sherwanis—a little more feminine yet not too much. I reshaped it again and again until I found the right balance and a perfect fit.” The Raja Signature Jacket remains a core piece for Liberowe and is one Loubaton develops and adapts season after season.
Though a majority of her design inspiration comes from growing up in Paris and hearing stories of it in the ’60s from her grandmother and her travels in India, her current home base in London isn’t irrelevant in the least bit. “London inspires me for its multiculturalism and its freedom,” she says. “What amazes me here, in comparison to Paris where I grew up, is the absence of judgment and prejudice against one’s look. Religions are expressed freely. Nothing is a taboo. There is no dress code, no lines to follow. It feels like a great blank canvas.” The city’s energy is also partially responsible for pushing Loubaton to begin this entrepreneurial journey in the first place. “There are always great shows, exhibitions, new shops, libraries, and endless museums,” she adds.
Where do you go in London when inspiration runs dry?
To be honest and luckily, inspiration hasn’t run dry yet. My issue is often having to edit the collection and narrowing down ideas. But yes, going to a fabric shop always makes me electric. The contact of fabric, the feel of the drape, the shine, the texture, it’s always magic.
Versace’s chief designer of women’s accessories. The Red Carpet Fashion Awards’ Shoe Designer of the Year in 2010 and 2011. The founder of an eponymous footwear brand worn by Zendaya, Victoria Beckham, Sofia Richie Grainge, and Jennifer Lopez. These are just a few of Brian Atwood’s successes throughout his decades-long career in fashion—specifically in shoes. Now, the former model who was hired by Gianni Versace himself has another completely casual achievement to add to his résumé: creative director of footwear at Express.
On Tuesday, American giant Express announced Atwood’s new position at the helm of its shoe department as well as his debut line for the brand, Brian Atwood for Express. “I grew up with sisters, so Express has been in my life, even since an early age,” Atwood says. “Working with such a huge company, one that has national mass appeal, was exciting and also challenging.” Never one to say no to a difficult feat—according to an interview in Coveteur, Versace once asked him out of the blue to try his hand at haute couture footwear for one of his collections—Atwood says he was intrigued by the opportunity to elevate the brand’s current assortment and bring its loyal customers something new and unexpected using his immense knowledge of shoe design.
For his first collection for Express, his goal was simple: great shoes. “Shoes should have a timeless nature to them, and that’s exactly what I have created with this collection,” he says. “Classic styles that women are going to want to wear and keep forever.” Of course, at the same time, he wanted to ensure that the collection had a bit of fashion in it. “I think the materials and colors are gorgeous, and with each design, we are giving the Express customer something they haven’t had from the brand before,” he explains. According to Atwood, Express let him do his thing. He adds, “They know my expertise and where I can help.”
Shop the first of many Brian Atwood for Express collections, which range in price from $41 to $119, below.
Some brands are big on Instagram. Others dominate in niche fashion circles. And then there are the ones that kill on the celebrity street style scene. As someone who browses photo agencies on the daily, searching for new, chic celeb outfits to write about on Who What Wear, I pretty much see every item that’s worn by Hollywood’s and NYC’s most famous dressers, from Jennifer Lawrence and Zoë Kravitz to Kendall Jenner and Hailey Bieber.
Though you’re bound to see every brand under the sun at least once if you truly dig into the celebrity outfit archives, 99% of the time, the people who get the most attention on the streets are wearing items from a small handful of brands. Kravitz, Bieber, and Laura Harrier, as friends of the house of Saint Laurent, almost always have at least one thing on them that was made by the French label. Lawrence and Jenner have become mega-fans of The Row, donning minimal garments and footwear from Mary-Kate and Ashley Olsen’s luxury brand on the regular. Sofia Richie Grainge, despite being a Chanel girl, is often spotted wearing pieces from Khaite. For proof, scroll down, where you’ll find all six of the brands that celebs love to get photographed on the streets in most.
