@schiaparelli couture… in a lost-and-found suitcase? Fashion miracles do happen 🧳👀
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#Dazed #AlexanderFury #DazedFashion #FashionArchive #Schiaparelli
The 50th issue of AnOther Magazine is on newsstands today - starring Charlize Theron, Alexander Skarsgård, Vicky Krieps, Pamela Anderson, Solange and Alex Consani, as well as Matthieu Blazy’s Chanel début, Sarah Burton’s sophomore turn at Givenchy, Miuccia Prada and Raf Simons on the meaning of jewellery, Catherine Opie in epic conversation with Maggie Nelson, etc etc etc.
I got to speak with Blazy on the eve of his métiers d’art show in New York, about fake astrakhan and leopard tweed and the innate rebellion of Chanel, as brilliantly visualised by Willy Vanderperre and Olivier Rizzo’s skinhead kids. And I also got to meet Miguel Castro Freitas - a fashion geek to rival myself - whose Mugler début is styled by Robbie Spencer and photographed by Paolo Roversi, in a neat reference to Roversi’s eighties Claude Montana ads. Hard clothes, soft focus. And I spoke to Steve O. Smith about his amazing, illustrative designs, independence, and Otto Dix.
This issue is a heartfelt celebration of the love and dedication of everyone at AnOther who works so incredibly hard, and of the incredible @susannahfrankel , a woman I love and admire in equal measure.
To helm Chanel is, to many, the greatest job in fashion. There is a priceless history, a ceaseless mine of inspiration and unparalleled influence. And @matthieu_blazy knows that well. His amazing début for Chanel is photographed by @willyvanderperre and styled by Olivier Rizzo for the 50th anniversary issue of @anothermagazine
AnOther Magazine turns 50! Well, 50 issues.
“A word that kept recurring throughout this issue’s making was kinship, a notion of like minds and forged connections, shared aims and approaches, ideals and ideologies - the individuals who make a collective whole” writes @susannahfrankel in our anniversary edition’s editor’s letter. “Here we pay homage to those phenomenal creatives.”
@another
As they celebrate 15 years in business, @eckhaus_latta ’s Autumn/Winter 2026 show had a sense of conviction about their own output, a true reason and purpose to why they design clothes.
Read @alexanderfury 's review at the link in bio 📲
📸 Eckhaus Latta Autumn/Winter 2026. Photography by @thomas_mccarty
For her debut Autumn/Winter 2026 show as creative director, Diotima’s @rachelleighscott sought to redefine the @proenzaschouler woman.
Read @alexanderfury 's review at the link in bio 📲
📸 Proenza Schouler Autumn/Winter 2026. Photography by @nico.daniels for AnOther Magazine
It felt like @marcjacobs ’ Spring/Summer 2026 collection had been flayed, stripping away the literal bloat of the recent past to the essential.
Read @alexanderfury 's review at the link in bio 📲
📸 Marc Jacobs Spring/Summer 2026. Courtesy of Marc Jacobs
Some of the shows from the couture and menswear this January… two weeks, twenty-something shows across two cities for @anothermagazine - more coming soon. Highlights include referencing to finagle an SVU mention into a @ysl review and managing to restrain myself from just writing about ‘Heated Rivalry’.
God is in the Chanel couture details. Honestly, up close this stuff is so mind-numbingly incredible. Everything was weightless, like lingerie, hand-embroidered and anchored at the hem with pearl-studded chains - which seem like the only things holding any of it in place. Pretended of feathers. Embroidered love-letters. Please also note the jewelled buttons, and the fake fake jewels, stand alone pieces entirely made of Lesage embroidery, in an homage to Karl Lagerfeld’s trompe l’oeil dress from his own couture debut. Sublime.
I hate when people make posts about the deaths of other people about them, but in 2022 I was offered the incredible, awe-inspiring privilege of curating an exhibition with Massimiliano Gioni of the New Museum placing Valentino Garavani’s extraordinary body of work in conversation with those who lead his house after him. It was called ‘Forever Valentino’, both in evocation of the Eternal City but also the timeless values of refinement, elegance and above all beauty that his work stood for. As a process, it was an incredible exercise in the dedication of one man’s vision - well, two men, as Giancarlo Giammetti was an inextricably instrumental figure in the myth of Valentino, and an incredibly refined human being. One of my favourite things in the whole show - and perhaps that I’ve ever see. - were the ‘abiti del sogno’ - ‘dream dresses’ designed by Valentino as a student. In 1992, for an exhibition celebrating 30 years of his fashion house, his atelier secretly realised these gowns from his youthful dreams; and, in 2022, then-creative director Pierpaolo Piccioli reinterpreted them again in his Autumn/Winter haute couture as an homage to Valentino’s soaring imagination and inextinguishable legacy. We included each version side by side. Those dresses were both beautiful and steeped in meaning, like all the best fashion is like Valentino was, is, and continues to under Alessandro Michele today. It is a magical name.
In November, I got to go to Paris to see some preparations for Matthieu Blazy’s first Métiers d’art collection for Chanel at le19M. Massaro, Lesage, Lemarié, Montex, Lognon. Because I’ve always been a complete geek, these names have been magical to me since I was a child. It was awe-inspiring, mind-blowing, eye-boggling and multiple other clichés. Honestly, one of the most amazing days I’ve ever had. Here are some pertinent facts, and some pretty pictures. And I can’t wait to see the magic they’re working on for the couture...
1. The square-cut vamp of Blazy’s Chanel shoe was based on Gabrielle Chanel’s original. She ordered from Massaro as a client before she began working with them. All the shoes the Massaro archive hold from Chanel’s own wardrobe are beige and navy-blue, interestingly. I love the satin toe-cap against ponyskin.
2. Lasts at Massaro. The first thing you see when you go in are huge chunks of wood. The first smell is (expensive) leather.
3. Monsieur and Madame Lesage met while Madame Lesage works at Vionnet. They fell in love, got married and bought an existing embroidery house called Michonet, which became Lesage. Vionnet was their first client.
4. One of my favourite Lesage embroideries - lapis faux crocodile for Yves Saint Laurent haute couture. Note the ‘spine’ of bugles along the scales. And Blazy Chanel hand-woven leopard tweed, in very much the same vein.
5. Obsessed with Montex. Here are their fake tweeds and fabulous weird crystal mesh and tinsel lamé corsages and a new Blazy Chanel Métiers d’art suit made of macramé threaded with malachite and rock-crystal beads (?!?!?!) THIS IS READY-TO-WEAR THIS IS READY-TO-WEAR!!!
6. Massed camellias by Lognon, who are a plissé house but kind of turn their hand to anything.
7. In a sad sign of our times, no-one makes the kind of specialist moulding tools Lemarié use to make their fabric flowers anymore. The house has a huge archive, but still buys them on eBay.
8. One of my favourite things at Lemarié - hand-painted animalier patterns with hems hand-whipped (frayed) with feathers laid beneath to resemble the raw edges of animal hides. Just astounding.
