Celebrating ’40 years of love’, Moschino handed over the reins to four friends of the house for its spring/summer show at Milan Fashion Week. Fashion stylists Carlyne Cerf de Dudzeele, Katie Grand, Gabriella Karefa-Johnson and Lucia Liu were invited to create 10 looks inspired by the works of founder Franco Moschino, who died in 1994. To mark the brand’s 40th anniversary, the collection was unveiled at a spectacular runway show split into four acts. Under the stewardship of creative director Jeremy Scott, Moschino has become known for bright, brash and whimsical designs. Carlyne Cerf de Dudzeele, 73, offered a more restrained take on the usual house codes, with the French stylist opening the show with a model clad in a white double-breasted two piece suit and black rollneck top. Injecting the sleek look with some Moschino glamour, she styled the suit with statement crystal jewellery and a head wrap dotted with chunky diamantes. What followed was the most wearable of the four ranges, featuring wide-leg blue jeans and chinos, navy blazers and knitwear, and a chic beige biker jacket. These were elevated staples, however, and they came with kooky accessories, such as heart-shaped handbags and a tiny micro bag worn as a necklace. Gabriella Karefa-Johnson pulled no punches with her first look, a gold chain skirt and cropped black leather biker jacket worn over a stripey black and white bikini and topped with a cowboy hat. Her 10 looks were a sensationally summery ode to the 1970s and 80s worn by a diverse cast of models who frolicked joyfully down the runway. Skirts ranged from mini (a colourful crochet number) to maxi (several high-waisted styles with ruffled ra-ra hems), teamed with corset tops and boxy blazers. A yellow and green tie-dyed denim skirt and top will no doubt appeal to Gen Z Moschino fans. Chinese stylist Lucia Liu was inspired by the Moschino founder’s painting and her range was all about ruffles. Opening with a pink tiered maxi skirt and a T-shirt printed with the slogan ‘Protect me from the fashion system’, the 10 looks featured lots of floaty chiffon, floral embroidery and cute little bow embellishments. Alongside puff-sleeved jackets, lace tights and diaphanous cargo trousers, Liu rounded off her range with a truly showstopping look. Worn by a Canadian model, the voluminous pink skirt was covered in giant bows and rosettes, teamed with a matching feather-trimmed jacket and vest top with an Italian slogan. The final act, from British stylist Katie Grand, was titled Gone With The Wind and promised ‘frequent nod(s) to irony’. It certainly delivered, with the first model striding out in a T-shirt emblazoned with the slogan ‘Loud luxury’, which he stripped off to reveal a tiny crop top and trunks printed with suggestive brushstrokes. A joyous rejection of the understated ‘quiet luxury’ trend that’s taken the fashion world by storm this year, Grand’s black and white range was more about making a statement than it was about selling clothes. Models in catsuits and tutus cavorted on the catwalk, engaging in something that looked like combative dance and generally having a whale of a time. They managed to get round the rectangular runway twice before sprinting off into the wings. A violinist appeared and began a solo performance of Gloria Gaynor’s I Am What I Am as she made her way down the catwalk. As the song morphed into Gaynor’s original version, the models reappeared in white slogan T-shirts and blue jeans, taking a final turn on the runway before the guest designers took their bow. The limited edition designs were made in partnership with the Elton John Aids Foundation. Honouring Franco Moschino’s work on HIV/Aids awareness during his lifetime, all proceeds from sales of the T-shirts will go to the charity. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live From tailoring to florals: 5 key fashion trends to know for autumn/winter Cue the damson decor trend to snug up your space Sex Education: What is it like to be a real-life Jean Milburn?

Cindy Crawford has explained why she posed nude for Playboy magazine in 1988, even after her agents told her not to. The supermodel, 57, reflected on the early days of her career in the new Apple TV+ docuseries, The Super Models, which she appears in alongside fashion icons Naomi Campbell, Linda Evangelista and Christy Turlington. During the second episode of the show, Crawford noted that, after becoming the face of Revlon in the 80s, “things started really happening,” as she was “doing the right campaigns”. However, she claimed that when she was asked to appear on the cover of Playboy in 1988, some of her peers and agents advised her against it. “Everyone in my life at the time thought I shouldn’t do Playboy,” she said. “My modelling agency didn’t feel that that fit into the types of jobs I should be doing. I think the brand still had a connotation to it that maybe scared some people off.” Crawford said she knew why her agency was hesitant about on the gig, given how different it was from jobs she’d had before. “I understood the platform of Playboy and what that symbolised,” she explained. “It was definitely outside the normal trajectory for a Vogue model at the time.” She went on to specify that a famous fashion photographer, the late Herb Ritts, was the one who reached out to her about the project. After she recalled that she and Ritts were “really good friends” and that she “worked with” him a lot and previously “stayed at his house,” she shared another reason why she wanted to pose for Playboy. “I don’t know, there was just something about it that intrigued me. So against the advice of my agents, I said ‘yes,’” Crawford said, before describing the conditions she brought up to the maagazine when taking on the job. “But I said: ‘You don’t need to pay me a lot of money. As long as I can have control of the images, and I wanted the right to kill the story if I don’t like it,’” she recalled telling the publication. Crawford noted that when she did the photoshoot for Playboy, she and Ritts “combined it with another trip that [they] were doing for French Vogue to Hawaii”. And, according to the supermodel, the two photoshoots weren’t all that different from each other. “We’d shoot a picture for French Vogue and then we’d shoot a picture for Playboy,” she said. “I mean, you almost couldn’t tell which pictures were for French Vogue and which pictures were for Playboy, it was very organic and I loved them.” The actor concluded by noting that, despite what other people may think, it was ultimately her decision to pose for Playboy, and she did not feel pressured into it. “That’s the whole thing for me is, even if I make choices that other people disagree with or don’t like, if they’re my decisions and I have control of it, that’s empowering to me,” she said. “Even if it’s doing Playboy. I never felt like a victim of that decision.” This isn’t Crawford’s first time opening up about posing for the magazine. During an interview with Net-a-Porter’s PorterEdit in 2019, she acknowledged that she didn’t have any regrets about being photographed nude for the publication twice, as she also appeared in a 1998 Playboy spread. “I look back at some of my old Playboy pictures and I think: ‘Why wasn’t I walking around naked all the time?’” she said. “I’m not getting younger. So I want to celebrate who I am today.” She also opened up about posing nude in her fifties, and shared the candid reason why she did so in photographer Russell James’ book, Angels. “Part of the reason I wanted to do it was that I thought, at what age is being naked not beautiful anymore? Is there a sell-by date on us?” the model said. “I don’t look the same as I did at 20, 30 or even 40. If we take care of ourselves, why not? Am I frolicking on the beach in a string bikini? No.” Crawford continued to explain how, to her, posing nude showcases a type of beauty that isn’t typically shown in her other photoshoots. “But there is a place where I want to feel beautiful naked, in my private life, with my husband. [Russell] was tapping into that real place – not high heels, not a lot of makeup, not coy, just a real woman who doesn’t have clothes on,” she said. Read More Cindy Crawford candidly speaks about her marriage to Richard Gere 30 years later Voguewashing London Fashion Week won’t pay the wages of Britain’s young fashion designers Groping, abuse and racism: 10 of the most shocking revelations from The Super Models TV show

Ready for a wardrobe refresh? Time to phase out your summer staples, rethink your separates and swoon over the spectrum of styles walking down the catwalk. Naturally, most statement pieces will be toned down and reimagined by the time you’re rustling through the rails… but as every style follower knows, they need to be on your radar to sneak a front row seat. Here are five stand-out trends to get in the groove… 1. Bold tailoring This season it’s all about the sharp shoulder. From Saint Laurent to Christian Dior, to David Koma and Dolce & Gabbana, the tailored jacket is a key silhouette. Teamed with a crisp white shirt and sharp tie, pinstripes are also on point. Call it power dressing if you like, the 80s padded shoulder may not be cutting-edge, but suiting signals confidence – and you can always wear yours with a simple white T-shirt. Skinny belts and black court shoes were also seen throughout – think workwear with a sophisticated spin. 2. Fire engine red There’s no rhyme or reason why designers adore red (as do we), it just works. The colour of substance, romance and passion, the hottest ticket in town strutted its stuff down the catwalk at Stella McCartney, Fendi, Bottega Veneta and Valentino, to name a few. Showstopping from top to toe with all eyes on you, a strong red also solves the fashion dilemma of what to wear when you fancy more than a flick of colour for a red carpet look – as illustrated by Ukrainian designer Frolov. Red also sits well with classics… it’s no secret a red handbag is a workhorse wardrobe staple when it’s teamed with neutral tones – and takes you from lunch al desko to date night. 3. Winter Florals Sure to be a huge hit, who can resist the allure of fabulous florals when the leaves start to fall – and you want to look blooming marvellous whatever the weather? Florals featured foremost at Balenciaga, Chanel, Christian Dior and Emilia Wickstead – but even Jil Sander, noted for her understated mannish clothing, couldn’t resist the allure of charming floral prints. Best of all, whether your chosen bouquet is a loosely-fitted trouser suit or printed pleated dress, flowers were flourishing in all their forms… and it’s an easy look to recreate. An added bonus, you can’t go wrong with floral accessories, such as a floral print scarf, as seen at Burberry, teamed with wide-leg trousers as a nod to beautiful buds. 4. Dark drama Black is back, big-time. Proving the undisputed colour of AW23, you can never have too much monochrome, ebony or jet black to don and drape yourself in fashion’s darkest – and most desired shade. For day-to-night dressing, tailored, long black coats (LBC) were central at Dolce & Gabbana, Prada and Victoria Beckham – and an investment you can really bank on with its timeless appeal. And then you need to find the perfect long black dress (LBD) or bodysuit. From peak corset all-in-ones and dresses at Alexander McQueen; to sequinned silk chiffon capes at Michael Kors for a ‘liquid look’, to team with trousers, this is black at its sexiest best. 5. Metallics Torn between metallic chains and liquid metal, steely, silvery tones in futuristic form were seen on the runway at Balmain and Paco Rabanne. Most wanted, we’re a sucker for Paco Rabanne’s Silver Mesh Bomber Jacket – and can’t wait for a fast fashion version. One to wear with denim jeans and silver sphere bag with crystals à la Rabanne. Pre-Fall 23 Collection Along with her sculpted shapes, Roksanda also rocked the runway with floor length fluids and high-shine fabrics… And who doesn’t love to razzle-dazzle when darkness falls… and it’s your time to shine and go for all out glam in the run up to party season! Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Cue the damson decor trend to snug up your space Sex Education: What is it like to be a real-life Jean Milburn? King Charles to address French senate in historic first

I can’t lie. I felt famous during New York Fashion Week. With my focus oscillating between Google Maps and the cobblestone streets of Tribeca, I had no time to stop and think about the scene I would be approaching. The thing with runway shows is they never start on time. Who shows up early these days anyway? For me, someone constantly late but willingly accepting every opportunity, NYFW’s schedule worked to my advantage. Still, inklings of doubt mixed with the rush of not knowing how late would be too late – leaving me with little room for mental preparation. In the case of the Brandon Maxwell show, I anticipated an intimate setting. I was told the guests were close friends, family, and a few high-profile fashion moguls who were asked to refrain from using recording devices during the presentation. It was a trusted circle of less than one hundred. I knew there’d be paparazzi outside impatiently awaiting the elite attendees. However, I didn’t foresee the vast amount of turned heads and focused cameras crowding the corner of Walker Street and Cortlandt Alley, all readily directed at me. Suddenly, I was someone to be noticed. Through the white flashes and crisp calls for attention, I approached the threshold of the Andrew Kreps Gallery. I presented myself to be checked off a list of people deemed special enough to see inside. Camera personnel and event staff had no clue who I was or why I was there – the irony. I wasn’t Julia Fox, Anna Wintour, or Blake Lively-level distinguished or expected. But I, Kaleigh Werner, was presumed worthy of being photographed and granted access based on proximity, invitation, and seating. It was thrilling. I felt as though I’d made it. In the literal form, yes, I’d arrived at my destination and found my chair. But metaphorically, I was on the cusp of something sensational that surpassed the rush of being realised through an entirely new lens. As a reporter, someone invited to review these presentations, it’s easier to block out the A-list noise. My attention remains locked on the intricacies of each collection, and figuring out how they mirror the thoughts of a designer. Whether sitting in the front or standing in the back, I’m concentrating on how a designer’s societal impression can be contextualised in fashion, while still adhering to the temperature regulations of the season. I’m in a gallery or a museum to perceive art, not at a red carpet event. I’m not being dressed by the brand. I’m not worried about how I look. The runway demands my attention. So, my gaze is directed there. This year I attended three shows: ADEAM, Atelier Ndigo, and of course, Brandon Maxwell. For ADEAM’s spring/summer 2024 show, hosted inside a warehouse on the west side of Manhattan, creative director and CEO Hanako Maeda effectively fused her longtime love for the ballet with her desire to “juxtapose the performance art as a sport”. “I think the collection combines the romanticism and couture-like craftsmanship that you see in ballet costumes with a more modern, sporty mood. I also added a touch of rock ‘n’ roll edge with the accessories,” Maeda told The Independent. Through tulle skirts, corsetry, ribbon, sheer Ponte, mixed media knits, and tailoring, Maeda - who designed the costumes for New York City Ballet’s Fall Fashion Gala in 2015 - reconfigured ballerinas to be models replicating a facile silhouette on the street. By using the specific material and intentional shape often associated with ballet, she harnessed the “athletic prowess” a performance artist displays and weaved it into everyday wear. Atelier Ndigo played with personal inspiration by utilising vibrant colours, textured fabrics, and structured pieces. From a bumpy white two-piece to balloon short sleeves, brand founder Waina Chancy once again proved to be an architect in dainty yet outspoken fashion. The white-washed walls of Spring Studios, complete with a backdrop of block brand lettering, only made every shade of red, purple, pink, and orange louder. Back at Andrew Kreps Gallery, Brandon Maxwell strayed from the eccentricity of his past spring collections to construct an ethereal response to the power of love. To him, that response is seen through sheer and natural beauty, along with coding that only added a breath of elegance. On the catwalk, gusts of chiffon, leather, knits, and denim blew past the few guests who sat in the studio. With flourescent lights and white ambiance, it felt as thought Maxwell had called upon angels to introduce a new wave of purity and innonence. Yet, the see-through materials mixed with belted pieces reminded us of the allure of form. The Brandon Maxwell spring/summer 2024 runway presentation wasn’t just the launch of a new line, but a visceral discussion on freedom and restraint - being simutaneously aware of both independence and determinism. From the distant eye, minimalism was triumphant. But upon closer look, the details were unveiled. Spliced sleeves turned biker-esque jackets and blazers into capes; sheer layers over and under long, fitted jackets transformed signature workwear into chic formalwear; and ripped, patchwork denim paired with slouched sweaters or unbuttoned button-ups brought an air of luxury to street style. As I exited down the steps to return to the reality of a typical work day, I stuck around to see who I could spot leaving the venue. NYFW has assumed a certain social stigma and media blitz. As much as it’s known for the inspired collections crafted by the minds of upcoming and distinguished talents, the seven-day affair has been hit with criticism, as more participants and curious observers are blinded by its social scene. After an animal rights advocate and PETA supporter stormed Coach’s spring/summer 2024 runway to protest the brand’s use of leather, discussion errupted around influencers increased presence at NYFW. Famed creators like Taylor Hawkins have been quick to point out how “dead” some events can get, due to the amount of brands that prioritise seating and dressing social media stars based on their online presence. Kelly Cutrone, best-selling author and CEO of People’s Revolution, echoed these sentiments in conversation with Dear Media during NYFW in February. “It’s just like, because you’re good at marketing yourself on the internet doesn’t make you a fashion expert,” she said about influencer being invited to shows. “Don’t pretend that just ‘cause you come here for a week that you’re in the fashion business.” For industry representatives - who are devoted to furthering the conversations that are evoked in fashion collections - their experiences are entirely separate from those who are invited to sit and make content about what they saw. These professionals are behind-the-scenes, speaking with the creative directors and producing copy to candidly honour their own work. “You know what I really don’t get, and what I don’t have much time for anymore. The fact that so much of the fashion content around the show that I see, especially on Instagram with these influencers, it’s really all about them,” fashion journalist Mosha Lundstrom Halbert said on her podcast, NEWSFASH. “It’s all about the fact that they got to go to fashion week - okay, cool. The fact that they’re being dressed by the designer - great, I’m happy for you,” she went on. “No editors get dressed by the designers, that’s really just influencers. And the fact that they’re going to show you where they sat and who they’re friends with...” But, there’s an advantage to having paparazzi feed off the unpredictable swarm of A-listers and influencers, and an obvious benefit to designers who decide to fill their front row with them. At ADEAM, Lana Condor, Elsa Husk, Poppy Delevigne, Harry Shum Jr, and Anna Cathcart were among the photographed VIPs. Meanwhile, Brandon Maxwell hosted Henrik Morten Lischk, Lisa Aiken, Eva Chen, Camila Alves McConaughey, Kat Collings, and Alex Badia. From a brand perspective, visibility is everything. In order for clothes to sell, the pieces need to be represented and observed by the right people – the “Emily Ratajkowskis” who generate buzz, or the social media influencers who inspire fads. It’s worth noting that, even though the production, styling, and individual garments speak volumes to the attractiveness of a collection, desire is often born from those who are adored and admired. Designers will develop their seasonal lines in tandem with a muse or inspired concept, like ADEAM’s spring/summer 2024 being motivated by the ballet or Brandon Maxwell’s being an answer to the impasse of freedom and restraint. Then there was Dolce and Gabbana’s famed spring/summer 2023 show curated by Kim Kardashian, after both Domenico and Stefano were galvanised by the reality star’s “it girl” essence. High fashion runway can be viewed as a melting pot of celebrity image and designer conception. While the relationship between famed figures and name brands is pertinent to Fashion Week criticisms, the focus shouldn’t be on celebrity sightings or social climbings. Although I observed a clear presence of exclusivity hovering over runway presentations and after-parties, I found the purpose is not to be seen but to step inside the minds of imaginative designers and celebrate the execution of their visions. Read More London Fashion Week 2023: All the highlights from day two British Vogue appoints Chioma Nnadi as Edward Enninful’s successor London Fashion Week: Jourdan Dunn walks in emotional Richard Quinn show

Supermodel Linda Evangelista has claimed she was abused by her ex-husband, French former modelling agent Gerald Marie. Evangelista, 58, was married to Marie from 1987 until 1993, during his time as head of the European division of Elite Models. In an interview for a new Apple TV+ documentary, The Super Models, Evangelista described her five-year marriage to Marie as an “abusive relationship”. “It’s easier said than done to leave an abusive relationship,” she said in the programme released on Wednesday 20 September. “I understand that concept, because I lived it. If it was just a matter of saying, ‘I want a divorce, see ya’... it doesn’t work that way.” She added: “He knew not to touch my face, not to touch the money-maker, you know?” The Independent has contacted representatives of Marie for comment. In a statement provided to Apple TV+, and obtained by The Telegraph, the 73-year-old denied the abuse allegations, and said he “has never committed the slightest act of violence”. Marie was accused of rape and sexual assault by multiple women during the 1980s and 1990s. He denied all of the allegations. In 2021, French prosecutors decided to close their investigation since the allegations exceeded the country’s statute of limitations for reporting sex crimes. Read More ‘I had to endure the abuse in order to continue working’: Ex-model Carré Sutton accuses former agency boss of sexual assault Former model ‘raped by Linda Evangelista’s ex’ says fashion industry ‘complicit’ in widespread abuse Cindy Crawford calls out Oprah Winfrey for treating her like ‘chattel’ in old interview: ‘Seen and not heard’

A new exhibition puts the spotlight on the contribution of black designers in British fashion. “A lot of what black creatives do is informed by some of those darker and negative experiences. It’s our secret weapon,” said Jason Jules, who curated The Missing Thread: Untold Stories of Black British Fashion, alongside Harris Elliott and Andrew Ibi. The exhibition at Somerset House looks at fashion, music, photography and art from the 1970s to present day, using four distinct themes: home, tailoring, performance and nightlife. It doesn’t shy away from the vivid experiences of racism and discrimination, and highlights how political yet liberating clothes can be for black communities. The exhibition features commissions from a new generation of black designers, including Bianca Saunders, Saul Nash and Nicholas Daley, as well as up-and-coming artists such as London-based couturier Ninivah Khomo and patternmaker Monisola Omotoso. There’s also the presence of design legends – such as Ozwald Boateng, Bruce Oldfield – who designed a red silk crepe dress worn by Diana, Princess of Wales – and Joe Casely-Hayford, a designer and tailor who started showing collections in the 1980s and died in 2019. “Joe was the starting point for this entire exhibition,” Jules said. “He is the most missing part of the narrative [of mainstream fashion]. Individually we’ve all worked with Joe. On one level he seemed like he was just constantly in fashion, very aspirational, elegant, a sophisticated and distant person. But beyond the surface, he was actually very social, non-judgemental, playful, fun – the whole lot. “And in a sense, we wanted to communicate the dichotomy between how we see people and ourselves. “For me, he was the best designer this country ever had, because when you put him back in his rightful place, he transforms the entire British and global landscape of how we understand fashion.” Ibi agreed: “To be able to sustain that level of tenacity for such a long period of time, when you are consistently overlooked, is just amazing. And not enough people know who he is, especially young black people. “This is why it’s never been just about fashion, because in the background, whether you were studying or trying to get to the club, taxis wouldn’t even stop for you. It didn’t matter if you were creative or not.” The curators hope that the immersive exhibition, which “references our lives, time, progress, and development”, Ibi said, will highlight that black people have always been in fashion. Elliott – who set up The Black Orientated Legacy Development Agency (BOLD) with Ibi and Jules – said: “Style was always inherently in our genes. We couldn’t leave our homes dressed in a certain way. You had to always look impeccable to get anywhere in life, when melanin is your best friend.” The Morgan Stanley Exhibition – The Missing Thread: Untold Stories of Black British Fashion exhibition opens on September 21, 2023 and will run until January 7, 2024 at Somerset House.

High street fashion retailer H&M has joined other companies in charging shoppers who return items purchased online. Customers must now pay £1.99 to return parcels either in store or online, with the cost of the return being deducted from their refund. Rival high street stores including Zara, Boohoo, Uniqlo and Next already charge for online returns, with retail experts predicting that even more are likely to follow suit. During the pandemic, when online shopping inevitably soared in popularity, customers became increasingly more reliant on returning items when they did not fit. However, this also led to a rise in people buying items in bulk and returning almost all those items, some of them worn. While most online and high street retailers do not formally announce the move to charge for returns, many have introduced the change under the radar, with H&M implementing the return fee this summer. Business analysts have told the BBC that other retailers are likely to do the same. "It’s interesting that companies seem to be doing it by stealth, but it’s a sensible thing to be doing," retail expert Jonathan De Mello told the outlet. "It makes economic sense, as it discourages shoppers from bulk buying online products and then returning the majority of them. That’s been a real problem for companies." While H&M shoppers might be disappointed in the extra returns fee, added De Mello, most might understand why a company would need to make this decision, especially when it comes to the environment. Many shoppers are increasingly aware of the environmental impact of deliveries and returns, from courier vans to wasted packaging. Retail expert and analyst Natalie Berg wrote on Twitter/X that retailers have “created a monster” with free returns. “​​H&M charging for returns. Retailers have created a monster with free returns. It makes financial and environmental sense to put an end to this ‘buy to try’ mentality.” But Berg pointed out that customers who have signed up to H&M membership would be exempt from the extra fee for returning items. “This is actually a really delicate way to tier your customers,” Berg said of the membership scheme. “Slowly climb down from costly promises by limiting those benefits to loyalty members. Retailers have become too generous over the past decade. Save that generosity for your most valuable customers.” Read More Inside London’s first Vogue World: Thong leotards and Anna Wintour’s VIP assembly line Voguewashing London Fashion Week won’t pay the wages of Britain’s young fashion designers Bridesmaid who “didn’t love” her dress spends 35 years wearing it around the world Meghan Markle praised for mixing high-fashion with affordable pieces Vogue World wowed but won’t pay the wages of young fashion designers Ukrainian designers prove beauty can come from darkness at London Fashion Week

A Ukrainian fashion designer said she will continue to “work no matter what”, after showing her latest collection at London Fashion Week (LFW). Nadya Dzyak was one of three designers showing their latest collections in a showcase dubbed ‘Ukrainian Fashion Week’. This is the second season Ukrainian Fashion Week has taken place in London, as the traditional Kyiv-based event has been cancelled due to the ongoing Russian invasion. The show took place on the final day of LFW. It began with a voiceover saying: “Creating collections is our resistance to war”, going on to highlight that the fashion is a manifestation of “our strength and resilience”. “No matter what, we work. We’ll work because it’s our life and it’s our fight, to create new pieces,” Dzyak told the PA news agency backstage after the show. She said it was particularly meaningful participating in London Fashion Week, calling the city “the main centre of the world of fashion”. She said: “You cannot imagine how it’s important for us – it’s very strong, it gives power, it gives a lot of emotions.” Dzyak founded her eponymous brand in 2008, and her spring/summer 2024 collection was full of bright colours with sheer dresses laden with ruffles and frills. She said she was inspired by Ukrainian artist Polina Raiko, who was part of the naïve or folk art movement and died in 2004. Raiko’s museum house in Oleshky was flooded after the Russian destruction of the Kakhovka Dam earlier this year. “I was inspired by her drawings on the walls from this building,” Dzyak said, likening her design process to “painting with ruffles”. She continued: “This collection is about hope, about kindness, about optimism, about belief in lightness and victory. You can see very bright colours – for me, it’s something very beautiful.” The designer brought her bright colours to unconventional denim looks, which were dyed on the porch of her parents’ house. “My father helped me hand-dye clothes and dry them in the sun. There was something archaic, almost ritualistic in this process,” Dzyak said in a statement. “It made me reflect again on how we will carry the metaphysics of our heritage into the future, everyday life, traditions, parental love.” Also showing her latest collection was Elena Reva, who founded Elenareva in Kyiv in 2012. Her aesthetic was much more pared-back, with a muted colour palette on romantic gowns and structured tailoring. She was inspired by ancient Trypillian culture, which had a powerful cult dedicated to the Mother Goddess. Reva told the PA news agency backstage that the jewellery in the collection was designed to give “power and energy, because we need the power now”. She added: “It’s a very difficult situation in our country – it’s terrible. [But] we have to continue our jobs. We have to live… But it’s terrible when the rockets come in.” Her collection mixed masculine tailoring with feminine silhouettes, and created silver pendants of artifacts like amphora – made to look like items unearthed by modern archaeologists. Kseniaschnaider – the Kyiv-based brand founded in 2011 by married couple Ksenia and Anton Schnaider – was also on the runway. Denim dominated the collection in different forms, from patchwork jeans to distressed jackets. One of the models wore a denim interpretation of Cossack styles. All of the garments were made in Ukraine, with the brand adopting sustainable materials – such as aged-look denim dyed with a recycled finish made by cork stoppers. Kseniaschnaider launched the second drop of its collaboration with Adidas Originals during the show, including football tops in geometric patterns and a midi-length dress in Ukraine’s yellow, white and blue colours. At the end of the show, Dzyak, Reva and Schnaider walked down the runway with Ukrainian flags draped around their shoulders. Dzyak wants the world to know that Ukrainian designers are “very talented, very strong, very brave and very optimistic”. Reva added that it’s crucial for the world to see Ukrainian fashion, saying: “We have to tell about our culture, it’s very important. “We have a very strong community in Ukraine, and we have a very interesting story. And that’s why we have to continue.” Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Beginner’s guide to buying second-hand furniture Do I need to treat my garden furniture before storing it for winter? Prince William heads to New York for UN General Assembly climate week event

Less than 10 days before Balmain’s spring/summer 2024 collection is scheduled to hit the runway for Paris Fashion Week, over 50 of the brand’s debut pieces were allegedly “hijacked” and stolen. On Saturday, 16 September, Olivier Rousteing, the Parisian fashion house’s 12-year creative director, took to Instagram to announce the garment crime. The 37-year-old explained how he’d arrived at the office by nine in the morning, anticipating the arrival of the last few designs for their upcoming show. However, he received a call from the driver meant to transport the pieces from an airport in Paris to the Balmain headquarters. The individual confessed that his vehicle had been overtaken, resulting in the theft of more than 50 looks. “Our delivery was hijacked. The camion got stolen. Thank god, the driver is safe,” Rousteing wrote. “So many people worked so hard to make this collection happen. We are redoing everything but this is so so disrespectful.” “This is so unfair. We will work more, days and nights. Our suppliers will work days and nights as well, but this is so disrespectful,” he continued. “I wanted to share this with you to remind you, don’t take anything for guaranteed and please be safe. This is the world we are living in.” The details surrounding the incident, such as the airport location and hijacking time, were not released. Executives flocked to social media, discussing the unheard-of tragedy with their followers. Bernard Garby, luxury client manager at Harper’s Bazaar, Elle, and Esquire, discussed the news on TikTok and described it as “a real fashion drama”. “What happened is something I’ve never heard ever before,” the fashion expert, known to deliver industry recaps every morning, said. Bernard carefully described the unfortunate impact this incident leaves on the brand with a collection debut scheduled for 27 September. “It’s basically a pure robbery,” the famed user proclaimed. “I have never ever heard of anything like that before... They have less than 10 days... How stressful!” Additionally, Bernard made a point to connect this alleged robbery with that of Kim Kardashian on 3 October 2016, when the reality TV star was tied to her hotel bathtub while five men stole her jewellery from the room. Speaking to David Letterman in 2020, Kardashian recounted the traumatising experience. “He grabbed me and I was wearing a robe and I wasn’t wearing anything under it,” she recalled. “He grabbed me and pulled me towards him but I wasn’t wearing anything underneath. So I was like, ‘OKay, this is the time I’m going to get raped. Just deal, it’s gonna happen.’” @bernardgarby Today's Fashion News: Daniel Lee's Spring / Summer 2024 collection for Burberry and fashion drama at Balmain! #fashionnews #TikTokFashion #fashion #fashiontiktok #fashiontok #burberry #balmain #bernardgarby ♬ original sound - BERNARD “Just prepare yourself.’ So I did... But then he tied me up with handcuffs and zip ties and duct tape,” she noted. Bernard ridiculed Paris in his video, telling the city to “fix your situation down there”. He added: “It’s just not a good image. I am meant to be going to Paris for the Paris Fashion Week as well and I can tell you because of this news around Paris, Paris is really ruining its reputation. And it’s not looking good. I don’t feel safe going to Paris anymore. So you need to fix it.” The Independent has contacted Balmain and Bernard for a comment. Read More London Fashion Week 2023: All the highlights from day two London Fashion Week: Jourdan Dunn walks in emotional Richard Quinn show British Vogue appoints Chioma Nnadi as Edward Enninful’s successor British Vogue appoints Chioma Nnadi as Edward Enninful’s successor Naomi Campbell recalls racism she faced early on in modelling career V&A’s Coco Chanel exhibit doesn’t shy away from designer’s Nazi ties – review

Naomi Campbell has reflected on the racism she faced early on in her modelling career. The supermodel, 53, spoke about some of her experiences in the fashion industry in the upcoming Apple TV+ documentary, The Super Models, which also features modelling legends Cindy Crawford, Linda Evangelista, and Christy Turlington. During one episode of the show, which will premiere on 20 September, Campbell reflected on growing up in the UK, beforing moving to the US when she was still a child. According to US Weekly, she said that although she experienced racism as a child, such as when she was five years old and someone called her a racist word, she didn’t let it affect the way she viewed herself. “I wasn’t going to accept being bullied at school for the colour of my skin,” she said. “My mother was paying my school fees just like everybody else. I had every right to be there, so take your bullying somewhere else, is how I felt.” Campbell also added that when she moved to New York to pursue modelling, her mother had a few reservations about it. “At the time, modelling was kind of looked down on in my family. My mother had no idea I was doing any of it,” she said, before noting that she still followed through with her career. She further detailed that, once she got involved in the fashion industry, her mother warned her about the racism that exists in America, as well as the prejudices towards people of colour in the southern parts of the country. With those aspects about racism in mind, Campbell became aware of how hard she’d have to work in order to feel comfortable in her career. “I started to understand culturally that I was going to have to work really hard to feel accepted,” she said. “There was no way I could go back home with my tail between my legs … I was going to go harder and further.” Per US Weekly, the Apple TV+ show continued with Campbell recalling some of the stereotypes about people of colour that she witnessed as she adjusted to living in New York City during the 80s and 90s. She shared a specific experience when she and Turlington were getting into a taxi cab, and the driver appeared to assume that she lived in Brooklyn because she was a Black woman. “I would put my hands out many times on New York City streets, and the taxis would fly by,” Campbell recalled. “Then Christy would put out the hand and they would stop. The guy would be like: ‘I don’t want to go to Brooklyn,’ and I’m like: ‘I’m not going to Brooklyn.’ I was just like, why is he saying that? It didn’t strike me until, you know, Christy would have to stand out in front of me, get me a taxi to get it to work.” Campbell then shared how her friendship with Turlington grew over time, noting that they lived together throughout the early days of her career. Additionally, Evangelista also expressed how she tried to advocate for Campbell when the British model was discriminated against because of her race. “Naomi wasn’t always booked to do the shows,” Evangelista said. “I didn’t understand. Naomi, I thought, was more beautiful, had a much more rocking body than I did and a better strut. [I was] like: ‘Why aren’t they booking her?’ I said to them: ‘If you don’t book her, you don’t get me.’” This isn’t the first time that Campbell has opened up about the racism she faced at the start of career. In a personal essay for CNN Style, published in 2021, she praised Evangelista and Turlington for being “really supportive,” as she “wasn’t being booked for certain shows because of the colour of [her] skin”. “For whatever reason, those designers simply didn’t use Black girls; I didn’t let it rattle me. From attending auditions and performing at an early age, I understood what it meant to be Black,” she wrote. “You had to put in the extra effort. You had to be twice as good.” She emphasised that she was “lucky to have Linda and Christy stand up” for her, describing how they told designers that “if they wanted to have them in their show”, they had to book Campbell as well. “That kind of support was unheard of. I will be forever touched. When I got to walk in those shows, I felt a huge sense of victory, but also gratitude,” she added. Campbell also acknowledged what she’s learned from both her success and the racial prejudices she’d faced throughout her career. “I have had my challenges as a Black model, but in many ways I feel like one of the lucky few. If my career has taught me anything, it’s that you can always turn prejudice around, that you should never give up,” she wrote. “Racism is just ignorance.” Read More From Naomi Campbell to Hailey Bieber: All the top models and celebs in Victoria Secret’s new Icons campaign Cindy Crawford says her father initially thought modelling ‘was another form of prostitution’ Linda Evangelista says she still gets botox after CoolSculpting procedure that left her ‘disfigured Celebrities mingle with royals at glam Vogue World party in London Sienna Miller bares baby bump at celebrity and royal-studded Vogue event How Burberry evolved from humble raincoat maker to luxury fashion giant

Chioma Nnadi has been appointed the head of editorial content at British Vogue, succeeding outgoing editor-in-chief Edward Enninful. Enninful, 51, resigned from one of fashion’s most coveted jobs in June, triggering months of speculation over who would replace him. London-born journalist Nnadi becomes the first Black woman to be appointed editor-in-chief of the magazine, as Anna Wintour praised her as “an editor and writer with an impeccable reputation”. Announcing Nnadi’s appointment on Monday 18 September, Wintour said: “Chioma is beloved among her colleagues at Vogue, and is an editor and writer with an impeccable reputation – both here and in the fashion industry at large. “I’m so grateful to Edward Enninful for everything he’s accomplished at British Vogue, and we’re all looking forward to a productive and creative relationship with him in his new role. “I can’t think of a more worthy person to follow in his footsteps than Chioma, who has proven herself adept at speaking to our digital audience and has found ways to extend Vogue’s reach, authority, and influence across all of our platforms. “She is passionate about fashion, music and culture, and I couldn’t be happier that she will be leading our editorial and creative teams in London.” Nnadi said: “I’m beyond excited and honoured to have been appointed as British Vogue’s Head of Editorial Content. As someone who was born and raised in London, the energy of the city – its boundary-pushing style and creative scene – has shaped the way I look at the world. “Now, more than ever, it feels like a moment to look beyond borders while also celebrating the broad scope of what it means to be British. I’m looking forward to engaging a loyal and inspired digital community that is energised by our access, point of view, and storytelling.” Enninful, whose reign as head of editorial content comes to an end after six years, praised Nnadi as a “brilliant and unique talent with real vision” in a statement. “I am so thrilled that Chioma is joining British Vogue - she is a brilliant and unique talent with real vision, who will take the publication to ever greater heights, he said. More to follow... Read More V&A’s Coco Chanel exhibit doesn’t shy away from designer’s Nazi ties – review How the fashion industry fell out of love with heels How to do ‘The Meghan’ in seven easy pieces

Jourdan Dunn appeared on the runway during an emotional evening for London Fashion Week favourite Richard Quinn. The British supermodel wore a strapless tulle dress with yellow and blue floral embroidery, and a black bow at the waist, part of Quinn’s spring/summer collection. The designer was in tears when came out to embrace his mother at the end of the show, which was dedicated to his late father. “In times of great sadness and loss comes a sense of reflection and calm,” read the show notes, which were accompanied by a photo of Patrick Quinn, who died in June. A handwritten caption printed on the other side said. ‘This one’s for you Dad’. A performance by five ballet dancers that opened the show – held in a ballroom at the historic Andaz hotel in East London – was billed as a celebration of “a wonderful father, grandfather, brother and husband”. Quinn – who famously won the inaugural Queen Elizabeth II Award for British Design, presented by her late Majesty, in 2018 – has become known for his floral prints and almost couture-level of craftsmanship. The SS24 collection focused heavily on the latter, with a slew of stunning eveningwear ensembles. The first look was a ballerina-esque white full-skirted dress with sparkling embroidery, which was followed by a series of black and white outfits. Standout pieces included mesh dresses with embroidered boned skirts that looked like birdcages, and a lipstick red ruffled cape gown (one of the few brightly-coloured looks). Some column dresses were so heavily encrusted with sequins and beads, you could hear them rustle as models glided by, while other voluminous gowns appeared light as air. The contemplative mood was continued with the design of models’ make-up. “Slightly somber, slightly fragile, like a really beautiful Victorian portrait,” is how MAC make-up artist Terry Barber described the look. “It’s a shadowy grey eye, and I’m using a little metallic gold powder to do this very fine thread of liner. It almost looks like they’ve just cried and their eyes are a little bit wet.” Model ‘twins’ on the catwalk has become a signature of Quinn’s. This season, the chosen pair wore blue and white floral satin dresses embellished with white feathers and worn over matching tights, each carrying a large blue and white bouquet, They were followed by Canadian model Jessica Stam closing the show in a flowing white cape with puff sleeves worn over a silver beaded jumpsuit. After Quinn’s mother rose to greet her son, the audience joined her in giving the designer a standing ovation. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Erin O’Connor and Vanessa Redgrave sit front row at Roksanda London Fashion Week show Action needed to protect women from birth trauma – MP Imagination and hard work in children trumps obedience – research finds