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INSPIRED by the work of Egon Schiele and the study of orchids, for AW20 Jason Wu’s collection spoke of craftsmanship and intricacy. Moving away slightly from his typical use of muted colours, this season Wu incorporated flashes of fuchsia, teal, turquoise and purple in to his largely monochromatic pallet. Tailoring with unexpected fuchsia pink piping and lining was paired with sheer chiffon blouses and strappy heels.

Working in harmony with the floral filled, Garden of Eden-like show space, an intricate orchid print painted by artist Jessica Underwood, featured on silk throughout the collection. Its smudged lines and watercolour streaks an ode to the painting style of Schiele.


Petal-like in appearance, several looks featured delicate layers of gathered chiffon and organza in turquoise, pistachio and white, working in contrast to tailored figure-hugging skirts and overcoats in iridescent utilitarian quilting.

The couture pieces highlighted Wu’s meticulous attention to detail; with gowns entirely adorned with hand embroidery and ostrich feather plumes. One slip dress embellished with a grand total of 100,000 Swarovski crystals. Understated yet luxuriant in true Jason Wu style.


FOR AW20, Christopher John Rogers gave us all a lesson in dramatic colour-blocking. The 26-year-old designer presented his fourth, collection at New York Fashion Week in the acclaimed Spring Studios this Saturday.

His first show after receiving the CDFA/Vogue Fashion Fund award last year was even bigger and bolder than what we have seen before. Spring Studios was transformed to look like the inside of a ballroom, with floor-grazing drapes and a decadent chandelier suspended from the ceiling. Following a long musical intro the room was filled with hazy smoke as the show opened.


The first look set the tone for the collection, featuring a balloon sleeve shirt and a strawberry shaped skirt both in tangerine dupion silk. A Perrot-esque ruff framed the models face, grazing her oversized embellished orange earrings. Throughout the collection technicolour gowns and tailoring in taffeta, satin and dupion silk appeared iridescent in the makeshift candlelight.


John Rogers’ signature voluminous silhouettes were maximised, with runway-wide showpieces in teal taffeta and hot pink gingham printed satin. The masterwork of hairstylist Naeemah LaFond, each model’s hair took on a different form, complimenting the structural looks within the collection.

Inspired by the notion of “chaotic glamour”, Christopher John Rogers aims to champion “new high-evening propositions for the modern aggressive femme.” As a whole the collection spoke of fantasy, an injection of glamour and colour into this seasons New York Fashion Week schedule.


AFTER a frenzy of red flashing lights illuminated the runway, the models lined up and turned dramatically in unison before walking Anna Sui’s show at New York Fashion week this season. For AW20 the American designer looked to 1970s horror film heroines – the matriarchs of vamp glamour – for inspiration.

Platform shoes were worn with knee high striped socks; red cat eye sunglasses framed Pat McGrath’s winged eyeliner and dark makeup; and lace chandelier chokers were paired with ornamental crucifixes.

The collection as a whole highlighted Sui’s adoration for material excess, with each of its 50 looks featuring a unique print of its own. Florals, check, snakeskin, paisley, leopard print and a quaint strawberry polka-dot that opened the show.

As expected, her signature references to Bohemia were still made apparent through excessive crochet, lace and a print collaboration with Liberty London. However, this season we saw Sui broaden her material horizons, experimenting with faux leather, PVC and crushed velvet.

As the colour of the lights transitioned, casting purple and green lights on to the runway, Sui’s show unravelled. Each look delivering the designers eccentric vision of gothic glamour.

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