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    Saint Laurent‘s menswear presents an ideology that is not only challenging to attain but is also difficult [despite or because of its similitude to the womenswear line] to describe. Both hone jet-black sveltness; drawing from the same history: the beat movement, the velvet revolution, the pre-modern gothic.  In womenswear, this
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    The Italian stable has shifted subtley for S/S 2022: In with those androgynous templates and in too with fun futurism Gucci‘s ascent to the pinnacle of Italian fashion has been – despite the nuanced hand of holding company Kering – an idiosynchratic journey given the label’s tendency – under Alessandro
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    Chanel, like all fashion houses, has a look [Gucci is leather and interlocking horsebit, YSL is 1960s cafe polemics and Burberry will always – in part – be in the trenches, to traverse three countries in one sentence]. In the nineteen nineties, when fashion became of interest to the emerging
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    https://youtu.be/0Q_Z1sC5N0o Saint Laurent headed north for its A/W 2021 collection. About the exact locale, nobody knows other than – as a scouting and modelling exercise – it can’t have been very cosy. The ouvre of the collection video is reminiscent of the 2012 Tom Cruise movie Oblivion: sweeping shots across
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    In the absence of conventional shows at NYFW, a number of alternative presentation models have been adopted with varying degrees of success: film shorts (Christian Cowan), runway shows sans audiences (Jason Wu, Raisavenessa) and capsule-like videos in static locations (Epimonia, The Blonds). What most of these shows highlight is the