This season, Campillo continued his exploration of the homoeroticism of traditional charro suits. “There’s a really broad back, there are really elongated legs, there’s a really small waist,” he said. When dismantled for parts, one can’t help but piece it back together with a bit of BDSM. A collar made from black horsehair stood on its ends brushing the bottom of the chin, becoming both rigid and sensual. Meanwhile, fluidity found gentle guidance in woven pants and silky blouses. Natural depth was brought through mined onyx buckles and buttons made in collaboration with artisan Sara Pineda. Campillo’s structured language became an apparatus for identity negotiations, and his pieces’ visual singularity can’t help but make you an active participant. Technique can make perspective shift—good clothing can do that. (It should do that!) You know where to find the full review 🥀
Don’t call it dark academia and don’t call it your zany aunt, because Henry Zankov is exploring the in-between. “The more wrong it feels, the better,” said the designer. “The more wrong it feels, the more interesting it becomes.” It was a fitting sentiment as a photo of Leigh Bowery peeked out from the moodboard behind him.
This season, Zankov hoped to push himself past the foundations, specially knitwear and paillettes, that he has securely established. A partnership with The Real Real cemented this idea of longevity, too. (In addition to supplying shoes for the show, they also invited some of their own consigners through a raffle.)
The vampy color palette was new. A violet knit swim cap worked wonderfully with an autumnal brushed alpaca knit. Same goes for the blue striped shirt with draped velvet stripes. It was less of Slim Aarons’s riviera and more Kim Gordon goes coastal, especially with some of the absolute zingers seen in the psychedelic ski prints. Plus, Presley Oldham returned yet again, supplying the runway with an assortment of tubular shapes and fringed beads.
Backstage before the show, Zankov spoke of his woman embracing her insecurities. (We all still have them, right?) The opening look—an organza skirt turned inside out—felt like a particular risk for his repertoire, but ultimately balanced nicely with the sculptural coats.
Despite any nervousness, his expanding design language continued to pay off. Zankov has worked tirelessly to establish his materiality as a signature before moving to the next thing, building the confidence of his designs before dabbling with further experimentation. It’s about time that all that good taste got a bit of tang.
In some personal news, I am now the fashion news writer at Vogue Runway! I am extremely excited to be joining the team and am looking forward to digging in right in time for fashion month. Thank you to everyone who has ever read a single word of mine!! 🖤
For the December/January Issue, I spoke about designer-celebrity red carpet duos. From Cher and Bob Mackie to Timothée Chalamet and Haider Ackermann, sometimes the real fashion magic comes from the most natural partnerships of them all. @elleusa
