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From Coco Mellors to Allie Rowbottom, the intersection of fashion and literature is getting much richer — and more human. It is a glittering Friday night in early August. I am 23, traversing Soho with a group of girlfriends, a mini margarita MOTH can in hand. I am scantily clad in a vintage Italian cami top with bow details sewn into the low-cut neckline, a white ruffle miniskirt, and denim pumps that borrow inspiration from Diesel but were purchased from Bershka for £22.99 because, I regret to inform you, my dear reader, I do not have casual-ability-to-spend-ludicrous-amounts-on-shoes-type-of-money (yet). The air is hot with sex and second-hand cigarette smoke and the blush pink cardigan I brought in case I got cold is wrapped up like a burrito and shoved inside my brown crochet, shell-embellished shoulder bag. Our heels clatter on the concrete and we are beautiful and it is so warm and we are so young and the pleasure of it all almost amounts to its opposite — pain. It feels like a scene out of a book I used to love when I was younger.  Recently, I have been thinking about the intersection between literature and fashion. Take the ultra-feminine ‘60s style in  Valley of the Dolls,  the Coco Chanel-inspired luxury in  Rebecca,  or Anna’s glamour and physical charm in  Anna Karenina . More contemporary examples include the ample sartorial references in  Cleopatra and Frankenstein,  Ottessa Moshfegh’s journal entries for a Proenza Schouler  runway show, and of course, we can’t forget perhaps the most apt congruence of fashion and writing:  The Devil Wears Prada. As Katja Horvat writes for  Not Just a Label,  “Both fashion and literature occupy a fetish for fantasy inside the minds of so many people [...] Literature has given the fashion world some of its most enduring icons [...] and these iconoclasts were firstly fashioned with a pen, yet they continue to catalyse inspiration for many designers, stylists, and readers.” My favourite part of reading a book is the hallucinogenic effect it has on my mind, where entire cities and faces and events are constructed from mere symbols inked to a page. This commonplace magic is heightened when fashion and fiction converge, as author's craft characters that readers can dress, animate, and envision in their imaginations. Patterns, shapes, and shades come alive; the pulse of an intangible rhythm is given physical form. To me, the combination of these two disciplines is the most wonderful form of  synaesthesia . Take a quote from Coco Mellors' debut novel: “She found the dress she did wear buried at the back of an overpriced vintage store on Perry Street, a liquid silk slip [...] When she slid it over her head, she felt as if she had taken a knife to the surface of the sky, skimmed a little off the bottom, and worn the peel.” I feel as if I can almost taste the fabric of the dress, like I can drink its aquatic properties and azure colouring. Another example of the blending of perception is found in Mellors' newest book,  Blue Sisters : “Her outfit was suspended on a velvet hanger with a Polaroid of her taped to the hook. It was a halter-neck ball gown with a flared skirt the shape of an upside-down martini glass. The fabric was the palest confectionary pink, like the underside of a kitten’s paw. Across the artfully draped bodice, a network of silver beaded branches sprang heavy with sparkling cherry blossoms.” Such descriptions make my senses coalesce in the most divine burst of pleasure. I can hear the swish of dresses and crystal glasses clinking and a tiny cat meowing, and I can smell all the flavours of spring — light notes of rose, magnolia, and vanilla. It makes me feel alive and powerful, to be able to tap into sensations with such evocative radiance, merely by deciphering black letters off a cream paper page. But taking fashion seriously as a creative interlocutor is not just done because it’s something pretty and fun to describe. No, it is a worthy, dare I say noble, quest, and I believe the importance of writing on fashion cannot be understated. Using it as a narrative symbol provides a medium through which authors can discuss heavier themes. Take Joan Didion’s use of clothing in Play It as It Lays , where Maria Wyeth and the colour white are repeatedly linked to express the protagonist's desire to start anew, as well as illustrate the apathy and white nothingness that has become Maria’s existence. Through the examination of aesthetics, something that may ostensibly seem vacuous, writers can dissect the intractable and rather nebulous themes of gender, capitalism, and modernity. This ties into the recent phenomenon of literary “It Girls,” defined in an NYLON article  as a new generation of savvy, young, female writers who are “beautiful, stylish, and social, with a certain je ne sais quoi . But what really makes them influential is the creative ways they stage and elevate their work — both on the page and in persona.” Yet arguably, this new social construct is the ultimate reflection of how patriarchy still seeps into modern literature. Allie Rowbottom articulated her experience of this two-edged sword for Byline , relaying how “I have been conflated with my body since the age of twelve. That such conflation has become both a burden and inextricable from who I am is an internal conflict that cuts to the quick of my relationship with womanhood, a relationship that informs my writing.” I do not aim to be reductive here, either, because as it is not incorrect to say that female novelists are writing about fashion to reclaim patriarchal control, it is also just one edge of a multi-sided prism. Fashion instructs us in both real life and the novel, and it is easy to assume that writing about fashion is an aesthetic pose rather than a narrative one. This is also not to mention the typification and necessity necessary to appear as an effortlessly cool and proficient novelist — especially if you are female.  As a woman, there is no way to escape the pressure of the patriarchy completely. What we can do is mould, sculpt, and bend it to our advantage. I like to think of it as being ceramicists in an unfair system; though we cannot change things entirely, we can create something beautiful out of the mess we’ve been given. There’s always a way to make light of adversity, and that’s exactly what literary It Girls are doing: reclaiming control of their physicality in a way that benefits them. Unfortunately, the opportunities for exposure that women writers get are often tied to their looks, even in fiction. Think of Andrea in  The Devil Wears Prada.  When renowned journalist Christian Collinsworth offers to look at her work it is not because he sees some invisible brilliance in her. No, quite the contrary; he helps her because he finds her attractive and hopes one day he will be able to sleep with her in exchange for professional favours. So, isn’t it time women writers reap the rewards of how they look, instead of being punished for them? After so many decades of male voices marginalising female ones, of men hating women for desiring them, of generally thinking of female intellect as lesser-than, I think it’s about time women repossess the narrative. Fashion is all about self-presentation and, in a world where women are judged so heavily in this regard, it seems fitting (excuse the pun) that female authors are transforming this curse into a blessing. As I’ve matured, I can honestly say that I have both profited and paid for being thought of as attractive by men. I will continue to write, to pour my soul into my work, and this inevitability will not prevent my other fate: that I will continue to be judged based on my appearance and garment choices. Fashion and literature will go on bouncing off each other, like light refracting through water, as women and their sartorial decisions will carry on influencing, informing, and inspiring their words. 🌀 Jade Serna  is a writer and aspiring journalist from London, England. She can be found on Instagram @jadesernaa .

How are we using gourmands — or, at least, the suggestion of gourmands — to offer public insight into the self? I’m scrolling X, and three separate Fragrantica  screenshots appear on my feed. Toffee, Baileys, Creme Brûlée, Whipped Cream, White Chocolate, Ice Cream, Brown Sugar, White Sugar, Candy Floss, Bubblegum.  It’s not just that these fragrances are sweet; they’re also all gourmands. Gourmand, meaning scents that mimic edible qualities, is a very particular form of perfume. Wearing a gourmand, compared to almost any other type of perfume, is interesting in effect of its pure synthetic nature. Wearing a toffee, whipped cream, or ice cream noted perfume will  always  smell synthetic because, well, whipped cream is a “synthetic” consumable object. It’s a food comprised of processing other edible materials to create something new. And so, when wearing a perfume meant to mimic this, the man-made quality jumps out. You can walk out into the world, and can smell from the earth’s bounty of marigolds, roses, sea salt, lemons — but a creme brûlée has to be made, so too toffee, Baileys, and candy floss. Gourmands then, have a unique quality of drawing attention to its own artifice. A cursory search through Google will find Reddit posts asking where to find gourmands that don’t smell so obviously like perfume. But that’s hard to find — even the softest touch of bubblegum will conjure the act of putting it on. It will always carry an aroma of process.  Now, measuring someone’s actual perfume taste against a Fragrantica screenshot is essentially meaningless. Of course, I’m not the first to note that there are many in the online perfume space that have never tried much of their posted catalogue, and use Fragrantica screenshots as a kind of social correspondence. Perfume critic Audrey Robinovitz ( @foldyrhands  on X, also HALOSCOPE’s Fragrance Editor) has made the claim that the visuality of Fragrantica, compared to the more classic copywriting style of perfume marketing, has allowed for a new method of communicating about perfume on online platforms. By turning the world of niche luxury perfume — both intangible in its qualities and granular in its specifics — into a visualised index, Fragrantica has transformed the ways in which people online discuss perfumery. You no longer need to have experienced the scent of a perfume to discuss its qualities; you only need to experience the notes in a visual format to “understand” its composition. It has transformed perfume, a largely untranslatable commodity object, into a visual currency of taste and identity.  I think that perfume functions differently than any other form of luxury cosmetics, although there are obvious crossovers. Perfume, by its nature, is highly  individualised . There are some current brands that foster widespread internet fawning (Le Labo and D.S & Durga spring to mind here), but there’s a key difference between a perfume brand with a cult following to a makeup line with a cult following. Makeup still has a long way to go in terms of diversifying its stock and range, especially for people of colour. But, compared to perfumery, makeup’s online social engagement is much more far-reaching. Even more conceptual and avant-garde makeup brands find their way onto websites like BeautyBay and Cult Beauty. And the reverse is also true — you can create an otherworldly makeup look using cosmetics found for cheap at a high-street shop. Makeup gives someone the opportunity to create, experiment, and take bits and pieces from different styles and fashions, collaging them into a unique interpretation on the skin. Whereas there are ways to work with cosmetic products that don’t quite suit your needs or fit your style, perfume is rigid in its subjectivity. Sometimes, there are scents that will touch you as purely putrid and disgusting, but to others, they may be delicate, beautiful, and sensual. There are hyped scents that fall bland on your skin. Sure, you could layer it with another fragrance, but when an individual perfume from a luxury perfume house can cost you anywhere from £120 to £300, most people don’t. Therefore, this exclusivity and subjectivity are at the root of how perfume is communicated in online spaces, only heightened via perfume’s complete untranslatability. You can watch a runway show, delve through archive photos, and see Daniel Roseberry’s hand-sketching each dress behind the scenes. You can absorb the world of the catwalk as a visual medium without ever coming near the clothes in your day-to-day life. Sure, it won’t match the actual experience of wearing the clothes or sitting front row at the catwalk, but it’s a good enough facsimile for most. But, even with the visual aids of Fragrantica or the copy of perfume houses, you can’t translate the experience of smell virtually.  So, why all the synthetic sweetness, then?  I think, really, this trend falls into wider preoccupations dominating certain streams of fashion intrigue targeted towards women. Bows, pinks, frills. An obsessive tilt towards infantilisation and self-creation. A turn backward into the crutches of youth. It offers little more than nods and winks to the past. Heightened by artificial gourmands and teeth-fuzzing sweetness, this trend in perfume asks the wearer not to imagine a future, or to imagine a world, but instead to fall backwards without self-reflection. When I think of this perfume trend, I think of the recent Sandy Liang SS25 pre-show copy:  “Being a princess is a job, just like being a spy girl is a job. This season there’s something to… live in, to create your own world in.”  Perfume is an experiential, sensorial, and ultimately impermanent object, that within the span of hours waxes and wanes, producing waves of different sensual notes. But, I wonder if the focus on this type of perfume elides the physical properties of perfume in favour of socially and virtually communicating “taste” and by extension, identity. The ribbon bows of perfume don’t often ask you to think critically about why perhaps you’d want to smell like a sugar cookie at the age of 27, or why you’re fixated on a certain youthful period of of your life. This communication of the “I’m just a girl” aesthetic ultimately goes beyond the products themselves. I wear this because I want to communicate  that . I like this  because I want to be that .  Even Britney Spears’ Fantasy had orris root and musk, and even Mugler’s Angel tried to balance the overwhelming sweetness of fruits and sugar with the amber sandalwood and anise of caraway. Although these are perhaps not apt comparisons, as they are dominated by overly sweet gourmands, they still attempt to communicate adult feminine sensuality. This online social communication of scents that relies heavily on childish feminine pastiche toys with nostalgia in an uncritical way. It invites the wearer to go back and re-imagine their childhood. I can guarantee that most childhoods did not smell of toffees and whipped cream, but for some, perhaps it is comforting to re-imagine it so, to cocoon oneself in the blankets of sentimentality. Perhaps it is comforting to remember your youth as untainted by the boundaries of modern living — no you can’t eat this, no you shouldn’t be that  — and re-remember youth as untethered from the “rules” of feminine adulthood.  The synthetic edible notes of whipped cream, frosting, cookies, and toffees, invite the wearer to figure themselves as a fixture of indulgent pleasure. Critically so, this lean towards indulgence within this variety of perfume alludes to femininity coded as indulgent. The use of overly sweet pastiches of “feminine” fragrances invites the wearer to posit themselves  as an indulgent treat — something to be enjoyed. And I think this idea is engendered into the very fabric of perfume marketing from the youngest of girls to the oldest of women. It is desirable to be desired. All of the traditional Western marketing of feminine-angled products tells us so. But being desired is not a singular activity. To be desired is to always  involve the presence of the other at any and every turn. It involves an outsider, a third party, a watchful eye, or an inquisitive nose. Perhaps this is the backbone of all perfumery. Is it ever enough to smell divine for oneself, or does it always need to be quantified by the ghost of another?  Taking the infamous quote from Barthes’ The Fashion System, he concludes the introduction to his semiotic analysis of fashion magazines by stating, “It is not the object but the name that creates desire, it is not the dream but the meaning that sells.” He meant this to explain how the written vestiary code of fashion as expressed in magazines works on a meta-linguistic level that goes beyond the material reality of the garments themselves. It is the meaning , the signals of the words, that introduce desire into the world of fashion copywriting. I think that this exact sentiment applies to the world of how perfumery is discussed online. The proliferation of saccharine sweet gourmands that dominate certain online discourses of perfumery perfectly illuminates how communicating about perfume has gone beyond the material composition of notes and silage. Perfume communicates ideas about desire. Openly acknowledging one’s desire for a decidedly childish or youthful edible gourmand communicates a specific desire that has been keenly fixed to the feminine sphere. The desire to be desired, the desire to be devoured, the desire to be seen as indulgent, the desire to be seen as sweet. The artificial construction of these gourmands only adds cloying insult to injury.  I think this engagement towards infantilised feminine aesthetics doesn’t always have to be mindless, and I think some brands engage with this gendered nostalgia effectively and critically. Nor do I think that all powerfully sweet scents are indicative of this trend — I don’t think Stora Skuggan’s explosion of narcissus, cherries, and honey in Thumbsucker falls into this category. But, that’s because, behind the scent,  there’s a story  and a world . The desire expressed in Stora Skuggan’s iconic scent comes from the perfume itself, how the narrative of childhood and youth reflects its construction. It comes from the inside out. That’s what separates these types of perfumes and the way they get spoken about online. On the one hand, some perfumes invite the wearer into a specific world, and on the other, some perfumes invite the wearer into pure self-world-creation. 🌀 M.P.S is a writer, zine-maker, part-time urban researcher, full-time perfume over-thinker, maximalist fashion enjoyer,   and creature from East London. You can find her looking gorgeous on Instagram as @_femmedetta  or giving unsolicited opinions as  @cyberyamauba  on X.

The roots of the Roblox-based fashion game find themselves in the drag-and-drop HTML games of the 2000s. Hazy memories of dress-up games colour the childhood of the Gen Z Girl. Sites like GirlsGoGames were cyber-libraries of hundreds, even thousands, of girly, glittery fashion games. The simple yet sparkly clothes were some of our earliest expressions of personality and style, in lieu of the Clueless -esque wardrobes we wanted for Christmas. Any chance of a trip down memory lane was virtually eliminated when, from 2017 to 2021, Adobe phased out Flash. It’s no wonder that kid-friendly apps like Roblox took over, especially during the pandemic — the corporation made $250 million  in 2020. What is unbelievable is the recent willingness from older teenagers and adults to look past the “cringe” associated with the platform, or rather, playing games with children. Enter Dress to Impress, the Roblox-based game taking TikTok by storm. Players have five and a half minutes to style their best outfit to fit one of several chronically online themes, from “visual kei” to “2014 vibes” to “coquette.” All aspects of the look are considered — hair, makeup, nails, and cleverly layered outfits. These glamourous avatars strut down the runway, sometimes hitting the awkward Pose 28, where they are given up to five stars by other members of the server. Technologically speaking, Dress to Impress is lightyears ahead of the endearingly simple dress-up games of the past. Long gone are the days of dragging and dropping. Instead, players walk their avatar around a large dressing room-salon complex, even sitting down to get their nails done by the in-game nail tech. Generation Alpha is being raised on hyper-realistic 3D simulations on their laptops, and Gen Z’s nostalgia trip is just that: a trip on the futuristic maximalism of what Flash games could have been. Do we wish they had been this way, or is the past what we crave? Maybe it’s the TikTok algorithm that’s drawn so many adults to Dress to Impress. Initially gaining popularity among teenagers, it’s now easy to find videos of creators in their 20s confessing their obsession with the game — on TikTok, @tom.hi11 pokes fun at himself  for playing a children’s game despite also training to be a doctor. However, escapism naturally comes to the fore, in line with the trend of an almost infantilising girlhood. “I’m just a girl”-games evoking the nostalgia of digital styling are a logical next step for Peter Pan-ified adults, akin to the “playing house” feel of The Sims. On August 17th, 2024, the Dress to Impress lobby was painted a bratty shade of green. In a way, the Brat  takeover was inevitable. Charli XCX knows her way around a niche, ironic internet reference. Remember her lockdown performance  on Grindr’s Instagram? And like the nostalgia-laden experience of playing the game, Brat  brings Gen Z and Millennial audiences back to late 2000s clubbing and the ( somewhat dubious ) indie sleaze. Old habits die hard, and the use of the celebrity in the fashion game is simultaneously making a resurgence. Think back to dressing up Britney, Beyoncé, and Bieber on Windows Vista. Supported by the extensive Brat  update, the selection of clothes and themes reflect an overlapping in style between generations. The reign of Y2K appears ceaseless, seen in the flip-phone accessory as opposed to a more contemporary iPhone. Yet, a common grievance  circulates amongst adult players of Dress to Impress: that the main demographic of the game ( 58% of Roblox players are under 16 ) often misunderstand themes, most likely because they weren’t actually alive for the trends referenced by them. Everything circles back to nostalgia; much like the Y2K resurgence from 2018 onwards, the burgeoning 2010s revival is being pushed by a generation too young to have participated in contemporary trends, but old enough to witness them online or on older teenagers. Attempts are made to clarify faint memories, straining the dated from the renewed. What emerges is a diluted form of the visual past and a somewhat strange experience playing Dress to Impress. There can never be enough praise for the developers of Dress to Impress, with most of them being under 17 and creating bright futures for themselves in game design. And truly, the game is addictive — you’ll find it difficult to get that lobby music out of your head. Yet, what may seem silly at first poses questions for fashion. How far will the merging of adult and child styles go? Are our tastes in fashion intertwining with our online identities rather than the clothes we wear in real life? Will we get one step closer to the iconic Clueless wardrobe? 🌀 Emma Heagney  is a writer, editor, and Classics student. Sometimes in London, sometimes in Oxford. Her obsession with history bleeds into her love of all things music, fashion, and literature. Subscribe to her upcoming Substack ephemeros  for explorations of forgotten culture.

The Swiss footballer shares her style inspirations, why she loved that Stella McCartney kit, and hopes for 2025 Euros. Fashion and football share a mutual anticipatory yearning for future seasons. Perpetually looking ahead, these two giants of culture represent the communities around them, and thus it should come as no shock when the two interlink. For Lia Wälti , Arsenal’s midfield maestro, this relationship was brought into focus when she collaborated with Swisscom’s 079 earlier this year.  The limited fashion collection, United by 079, sought to guide the raw team spirit of football off the pitch and onto fashion-forward statement jerseys — a recurrent sartorial trend in this Olympic and Men’s Euro year. Wälti, a proud Swiss national, featured in the brand’s digital campaign. “Working with a diverse group of talented individuals, each bringing their unique perspectives to the table was both inspiring and enriching,” Wälti shares with HALOSCOPE, adding that she found the access to creativity, “the most enjoyable aspect.”  “The United by 079 collection was incredibly compelling because it represented a unique blend of creativity, community, and cultural expression,” Wälti says, recalling her own approach to style. Signing for Arsenal in 2018 from Turbine Potsdam, Wälti is now a certified Londoner. For all who regularly walk these historic, vibrant roads, the city reflects back onto one’s own tastes and for Wälti this is something she has embraced with open arms. “London is a melting pot of cultures, and you can see that reflected in the way people dress. There’s a fearless approach to mixing patterns, textures and eras which has encouraged me to experiment more with my wardrobe,” she says, adding that the city’s street style, “has had a profound impact on how I view and express my own style.”  Wälti describes her wardrobe as diverse and a true, clear reflection of her effervescent and serene personality, adding, “[it’s] simple, comfortable and thoughtful yet also adaptable.” Specifically, she notes, “I have a deep appreciation for timeless items like a classic denim jacket or a well-tailored blazer.” A brand ambassador for world-renowned luxury watch brand Breitling — after all, she is Swiss — Wälti explained that her outfits never feel complete without a Breitling timepiece on her wrist. “They add a perfect touch of sophistication to any ensemble.” Recognised for her clinical precision in the game, Wälti doesn’t only pursue high standards on the pitch. Off the grass, she says, “I prioritise quality over quantity,” adding that, with sustainability in mind, she chooses items of clothing, “that are not only stylish but also environmentally conscious.”  Women’s football is undergoing a major growth spurt in the UK — as are many women’s sports globally. Thanks to a glorious win by England at the 2022 Euros, increased investments at all levels and wider media publicity, the Women’s Super League (the highest league of women’s football in England) experienced a 50 percent increase in aggregate revenue in the 2022/23 season, according to Deloitte . The swelling, thriving fan alliance is perhaps nowhere better seen than outside a sold-out Emirates or Meadow Park, where a sea of red consumes the atmosphere. “It still feels a little bit surreal seeing fans wearing our kits to be honest,” says Wälti, who continued, “It is a visual reminder of the deep connections people have with the clubs or national teams.”  Just as devoted club fans have their preferences over team kits, so do the players themselves. As to which is her favourite from her time at Arsenal, Wälti admits it is hard to choose as, “we had so many beautiful kits in the last couple of seasons.” However, she concedes that, “Of course, the Stella McCartney of last season was something really special, I loved the colours and the fit. It was even more special that this was a special kit only for the women's team.”  Aside from custom kits designed by daughters of famed rock stars who are fashion stalwarts by their own rights, the women’s game is producing noteworthy style moments directly from its athletes. “ Leah Williamson , my friend and Arsenal teammate, has a fantastic style,” says Wälti of the vice-captain who, when not leading England to victory, can be spotted sitting front row at Gucci runway shows. “I would say that she is probably my favourite fashion icon in women's football,” she declares, adding that, “she is one of those people who can literally wear anything and look effortlessly cool. She has a knack for making even simple outfits look stylish.” Outside of her own team, Swedish international and London City Lioness striker Kosovare Asllani also receives Wälti’s praise. “I think her style is creative and classy.”  The future is within arms reach as it always has and will forever remain. The time, however, is now for the female athlete at long last getting her dues, and here to greet her is fashion’s warm embrace. “When female athletes are included in fashion, it broadens the range of role models available to women and girls,” says Wälti, who continues, “It shows that athleticism, strength and fitness are just as worthy of celebration as traditional beauty standards.”  As for the future of the beautiful game, Wälti is in for a spectacular 2025 as the Euros come to her home, Switzerland. A major opportunity for the country, the captain of the Swiss national team says, “I want to help make the game more visible and I want to lead the way for young players to create change.” More than 365 million people tuned in to watch the 2022 tournament, more than double the viewership from the 2017 games. Wälti hopes for a successful competition where her team can reach their full potential saying that, “Everything will be possible with our own fans in the back.” “We want to inspire the next generations so that we can leave a lasting legacy for women's football in Switzerland,” Wälti says, noting her wishes to see improved facilities, increased interest in the sport and a whole new generation of fans and players who are directly inspired by what they see on the pitch next summer. “The 2025 Euros have the potential to be a defining moment for Swiss football and an unforgettable event for the entire continent.” 🌀 Molly Elizabeth  is a freelance fashion writer and commentator based in London.

What do we want? Billowy linen blouses! When do we want them? Now! As summer’s heat wave simmers into early Fall, I find myself still scrambling for lightweight, breezy clothing that makes me feel like a feminine little lady — and not the sweaty, swelling swamp monster I inevitably turn into every year. This, paired with Fashion’s continued focus on the “Weirdieval”  trend, has me laser-focused on historical garments. I want to feel like a long-haired, waifish woman wandering through a meadow dappled by sunlight. I want to be surrounded by a field of gentle deer  while holding a wicker basket or lounging on a lakeside swing  with my fingers dipping just above the surface of the water. Delicate, sun-kissed, and beautiful. Is that too much to ask? These days, a nice-looking breathable fabric is hard to find. The garment is either too stiff and body-conscious to be comfortable or too slouchy and ill-fitting to be gorgeous. Which makes you think, global warming notwithstanding, how did people even survive before the advent of air conditioning? What were the girlies of yore wearing in the sweltering summer heat? The solution’s been right under our nose this entire time: Victorian underwear.  No, we’re not talking about a saggy Hanes multi-pack. We’re talking thin, breathable, cotton undergarments laden with frilly little trims and intricate detailing commensurate with the Arts & Crafts movement  of the time. Gorgeous works of wearable art by life-long tailors and seamstresses who were, at the time, unburdened by the plague of mass production quality dilution and the thick smog of a SHEIN market stranglehold. But not all is lost! We can still take inspiration from our late 1800s counterparts and even employ some of their secrets for beating the summer heat. A button-front corset cover  with a sheer lace insert and delicate pink ribbons would’ve been far too scandalous to wear sans-overclothes back in the day —  but, in 2024, it’s damn near modesty wear! Pair this with a white linen maxi skirt  (which is technically from the Edwardian era… but don’t get too hung up on the details) and you are ready to hit the local farmer’s market at top speed. Of course, there are plenty of places to source genuine Victorian undergarments. My favorite is El Baul Victoriano  on Etsy. Based out of Málaga, Spain, owner Gonzalo sources uniquely beautiful antique pieces at decent prices. PetitTrousseau , also on Etsy, is another perfect destination for shoppers with an antique sensibility who aren’t afraid of a little sheerness (Me! Me! Me!). Now, we have to address the elephant in the room. When dealing with vintage clothing — antiques especially — sizing becomes an issue. There’s just an incredibly limited size range available for clothes from that time period. But no worries! There are plenty of modern brands that either make reproductions of Victorian styles or develop garments inspired by the era.    The brand DÔEN has made Victorian-meets-Western-Plains style their bread and butter. Their Carina dress features the same cotton fabrication and eyelet detailing that we’ve come to know and love from the late 1800s. Their Tillie Broderie Top in Powder White  is basically an exact reproduction of an old-style corset cover and the Leanne dress  takes all the benefits of Victorian Undergarments (light fabric, breezy feminine style) and blends it with 1940s techniques (flattering shirring and triple waist detailing). If you’re a stickler for historian accuracy, do NOT be afraid of high-end costume stores! In fact, just a blanket statement of advice: the only difference between “clothes” and “costumes” is the confidence you have in your own sense of personal style. Historical Emporium  and MaddeVintageInspired  can hook you up — you just have to let them.   Finally, just remember the three rules of Victorian linens and you’ll be good to go all year: Natural Fibers Only!  If it ain’t cotton, linen, or wool, we don’t want it! You need fabrics that wick the sweat away from the body, keeping you dry. Cut-Out Details Are Your Best Friend. Whether it be a lace insert or eyelet detail, anything that encourages airflow is nothing but good news when it comes to your heat-wicking wardrobe. Stay Away from Dark Colored Fabrics!  I’m so, so sorry fellow goths. I know you don’t want to hear this, but darker colors do in fact absorb heat  more quickly than lighter colors. 🌀 Kaitlin Owens  is a vintage fashion writer, movie buff, lover of good eats, and a women’s size 7.5 (if any shoe brands are reading). She is the Editor-in-Chief of Dilettante Magazine. You can find her on socials @magdilettante .

And a few extras. As Luca Guadagnino’s newest film, Queer , makes its way through the film festival rounds, I can’t help but wonder what kind of visual charms will be in effect during the post-WWII erotic drama set in Mexico City. Based on the 1985  William S. Burroughs' novel  by the same name, the film starring Daniel Craig, Jason Schwartzman, and Drew Starkey also marks Guadagnino’s second collaboration with Challengers  screenwriter Justin Kuritzkes — and the second time Guadagnino has brought on Loewe’s creative director Jonathan Anderson into the triumphant throuple.  However, before Johnathan Anderson, there was Giulia Piersanti. Piersanti, knitwear designer for Céline, worked with Guadagnino on his 2015 La Piscine -esque film, A Bigger Splash , the 2017 hit Call Me By Your Name,   the 2018 remake of Suspiria , and the 2022 love-lorn thriller Bones and All . In honor of Guadagnino’s constant inclusion of voices from contemporary fashion, we’ve decided to travel back in time and revisit some iconic alliances between fashion designers and the silver screen. For more on Anderson’s involvement in  Challengers , check out what Sophia Scorziello  had to say for HALOSCOPE back in May. I Am Love  (2009) And before Piersanti became a tried and true member of Guadagnino’s end credits, Raf Simons also had a turn with the Italian director. Brought onto the 2009 film I Am Love , Simons  dressed Tilda Swinton as Emma, the Russian wife of a powerful businessman submerged in Milain’s high society. “She’s not suppressed or oppressed in any way,” said Swinton in an interview with The Refinery , “...but she’s just not fully alive when you first meet her.” That is, until she’s introduced to Antonio, a blossoming young chef and the friend of her son. Emma exists disconnected from herself when she first appears, wearing muted neutral colors, headbands, and up-dos that feel almost Hitchcockian. Designed during Simons’ tenure with Jil Sander, the gradual shifts in the clothing’s cut and color give viewers a nuanced perspective into Emma’s psyche. A Bigger Splash  (2015) Six years later, Simons  would dress Swinton again, this time paired with Giulia Piersanti on the task. The duo took on Swinton’s Bowie-meets-Marianne (again, watch  La Piscine to understand) persona in the psychological drama. Set in Italy, the film focuses on a rockstar, played by Swinton, while she recovers from a throat surgery with her young boyfriend, an ex-lover, and his teenage daughter (I told you) while vacationing in Sicily. This time, however, instead of signaling quiet luxury with Birkins and pearl earrings, Swinton is decked out head-to-toe in Dior. It seems like Simons, who was at Dior at the time, couldn’t resist putting the British actress in some of the brand’s most emblematic silhouettes. Watch to see a killer white A-line jumpsuit with a statement belt, elegant shirt dresses, and a pair of perfect oversized sunglasses with reflective silver lenses. Stage Fright  (1950) Sometimes, it's not the director who calls all the shots. When it came to Alfred Hitchcock’s who-done-it mystery thriller starring German actress Marlene Dietrich, certain criteria had to be met before she agreed to the role. Not only did the lead have enormous control over which takes of her made the final cut, but she also stipulated that Hitchcock had to hire her close friend Christian Dior, whom she’d been introduced to by artist and filmmaker Jean Cocteau, to costume her for the film . Though Dietrich was often seen in pants and tuxedos, the character of Charlotte Inwood wore dresses throughout and describing the pieces as touchstones of glamour almost feels like an understatement. After Stage Fright , Dior  would go on to work with Dietrich on her next project, 1951’s No Highway in the Sky , in addition to designing the black satin gown and bolero she wore at the 1951 Academy Awards. This also led to Dior’s styling of Ava Gardner in the 1957 film The Little Hut , and Olivia de Havilland in 1956’s The Ambassador’s Daughter .  Belle de Jour (1967 ) Catherine Deneuve and Yves Saint Laurent  may have met while telling the story of Belle de Jour’s   Séverine, but their relationship would last until the designer’s death in 2008.   Luis Buñuel’s film follows   a young bourgeois housewife grappling with her secret masochistic desires, who decides to spend her afternoons working at a high-class brothel. Clad in boxy jackets and double-breasted coats, modest knee-length skirts, and loafers, Séverine’s outward ensemble juxtaposes the internal themes of subversive desire explored in Buñuel’s film. But Deneuve and Saint Laurent would  continue to work together once filming wrapped, partnering up for François Truffaut’s La Sirène du Mississipi in 1969, Marco Ferreri’s Liza  in 1972, and Tony Scott’s The Hunger,  a vampire drama featuring David Bowie , in 1983. The Cook, the Thief, His Wife & Her Lover  (1989 ) When Jean Paul Gaultier arrived on set for Peter Greenaway’s epic gangster satire, did they know it would be a match made in heaven? If you haven’t watched the Thatcher-era masterpiece, it’s nothing short of a feast (plus dessert) for all five senses. Greenaway’s dedication to aesthetics and meticulous attention to set design is all the more furthered by Gaultier’s eye. The film is a study of the lavishly absurd and the straight-up grotesque, reaching levels of kitsch Wes Anderson can only fantasize about. Georgina Spica, played by Dame Helen Miren, is a woman used to suffering at the hands of her sadistic husband, and as the characters move through the rooms of the French restaurant   Le Hollandais , the lighting and costumes move with them. Varying in color, identical outfits transform from red to green to white — and black when they’re outside — depending on where the characters are. JPG’s signature corset is a recurring garment throughout the film, along with tassels, bondage-style straps, gloves, and feather details.  The  Fifth Element (1997) Could we mention Gaultier without bringing up Luc Besson’s ‘90s cult classic? By this time in his career, JPG had already worked with Greenaway and Pedro Almodóvar for the 1993 black comedy Kika , which featured what I can only describe as the titty dress. A black bloodstained asymmetrical gown, with plastic prosthetics exploding (literally) from the bodice, became an iconic visual representation of the Spainiard’s film. When Besson approached Gaultier for the sci-fi action flick about a taxi driver, played by Bruce Willis, teaming up with former secret agent Leeloo (Milla Jovovich), to save the world from a fast-approaching meteor, he had his work cut out for him. Gaultier ended up creating over 1,000 costumes for the production, dressing tons of extras in addition to the main cast, and it paid off. The costuming became emblematic of the film's most striking moments, with the bandage outfit seen on Leeloo and the blue-clad flight attendant costumes living assuredly in the zeitgeist's mind. Romeo + Juliet (1996) Prior to Miuccia Prada — heir of the eponymous fashion house and founder of Miu Miu — joining the set of Baz Luhrmann’s biopic Elvis  in 2022, or his adaptation of The Great Gatsby  in 2013, she was part of bringing the Globe Theatre to Miami, or the other way around. Love it or hate it, the allure that  Romeo + Juliet  has is undeniable. The urban, tropical setting, in conjunction with the unabridged script of the Shakespearean tragedy, makes for one of the most impactful viewing experiences of any early teen. Despite the often exuberant quality of Luhrmann’s set design, many of the Italian’s pieces leaned on simplicity. Prada was behind the white dress and angel wings that Juliet, portrayed by Claire Danes, had on during her father’s masked ball, in addition to what the young couple wore during their secret wedding ceremony. Some honorable mentions go to Paul Schrader’s 1980 classic, American Gigolo , where Richard Gere was styled by Giorgio Armani; Karl Lagerfeld’s contributions to the 1976 Parisian S&M film, Maîtresse , directed by Barbet Schroeder; and Yohji Yamamoto’s work on the 2002 film Dolls , directed by Takeshi Kitano . Japanese writer and director Kitano has collaborated with Rei Kawakubo of Comme des Garçons and Issey Miyake   in the past,   but his long-standing relationship with Yamamoto is a recurring sartorial delight in his oeuvre. And, though it was a brief thing, Manolo Blahnik’s custom creations for Sofia Coppola’s   Marie Antoinette   can’t be forgotten. Lastly, I’d like to debunk the incorrect assumption that Paco Rabanne was responsible for Jane Fonda’s costumes in the 1968 cult classic   Barbarella . Though many pieces — the green sequin minidress with plastic chain-linked fringing in particular — were inspired by Rabanne’s space-age aesthetic, all of the outfits were made by costume designer Jacques Fonteray. Sydney Sweeney is set to star in the film’s 2025 remake, and I’m eager to see who Edgar Wright — director of Baby Drive r and Scott Pilgrim Vs. The World — selects to style the Queen of the Galaxy, though there’s no doubt that those moonboots will be enormous shoes to fill. 🌀 Carlota Gamboa  is a poet and art writer from Los Angeles, CA, who spends most of her time pressing buttons at a Beverly Hills talent agency. You can find her work in Bodega Magazine , Salt Hill Journal,   The Oversound , Whitehot Magazine , and Art & Object . Find her feigning apathy   @its_wtvr .

A commendable debut runway presentation for the London-based designer. London has long been known for incubating fresh designer talents — this is the land of Galliano’s, McQueen’s, and McCartney’s, Central Saint Martins, and hard-working spirits. Always pushing onwards, London Fashion Week is perhaps the best of the four familiars with which to spot growing artistry, and in her first-ever catwalk presentation, Edeline Lee commendably placed her name on the list of ones to watch.  Canadian-born yet London-based, Lee staged her Spring/Summer 2025 collection in the historic surroundings of the Millbank Tower, just off the banks of the River Thames. In a risky move, much like any event at any time of the year in England, Lee’s show took place outside, with the audience welcomed into a bustling, fantasy town square. With cobbled road, a classic navy Alfa Romeo, and stacks of newspapers, this was not a community meeting place of this century. A distinct shift from the bubbling backstage which was, as far as fashion shows are concerned, laudably calm.  Produced in collaboration with award-winning movement director and choreographer Shelley Maxwell, Lee’s models perused the “square” in fluid motion, only nearing the audience to pose momentarily for the pre-positioned camera. Strolling around and interacting lightly with each other, one’s attention was constantly engaged, helped in part by a largely classical soundtrack that was choppily mixed at times. Maxwell commented in the show’s notes, “I have loved collaborating with Edeline on this heightened exploration of everyday movement on a fashion stage.” Of her latest work, Lee said she wished to “present the meaning and the purpose behind the brand: to serve women, to design clothes that make them feel polished, read, and powerful.” Power was certainly on the agenda, no doubt upheld by the noted presence of Victoria Starmer, the wife of the latest Prime Minister. Her presence has drawn criticism as she and her husband navigate rows over the donation of free clothes to the couple by a Labour donor. Nevertheless, Lady Starmer’s attendance highlights a key pillar of holding power in this country as a woman — the ability to promote the British fashion industry, something she shares with the Princess of Wales, who wore the brand’s Perdenal Dress   during a visit to The Design Museum in 2022.  For Spring/Summer 2025, Lee chose to experiment with structure, certainly inspired by her time apprenticing in the studios of Alexander McQueen, John Galliano, and Zac Posen. This effortless construction, shown in tones of blue, white, powdery pinks and yellow, built an image of a woman who is, without great attempt, prepared for all sartorial needs, with practicality of high importance. With one glance it is clear the target demographic for this house are the yummy mummy’s of Wimbledon who, as they well should, aim to retain their sense of self and, most importantly, have spare cash to disburse.  Lee’s subtle architecture shone brightest under the house’s signature Flou Bubble Jacquard in a new painted polka dot print, designed in association with Carolina Mazzolari. Her closing look, a corseted, strapless, full-length gown featuring tasselled detailing and a dramatic cape, introduced Lee’s ability to design for the rarer occasions in life. Should we expect to see Lee’s work flow onto the red carpet? Time will tell. 🌀 7.0 Molly Elizabeth  is a freelance fashion writer and commentator based in London.

Fashion designers are covering models’ eyes at a trend-worthy tempo. But they’re also covering their own. Headwear is having a moment and I am here for it. But collection after collection of the Fall 2024 Couture shows, and even in some Ready-to-Wear (I’m looking at you, Marc Jacobs), I kept seeing designers covering their models’ eyes. Obscuring their vision.  The Jean Paul Gaultier case is a take on the Y2K office siren. Nicolas Di Felice chose to open the brand’s Fall/Winter 2024  Couture show with six looks where the models’ faces are veiled: five up to their eyebrows and one look covering up to the nose. The collection as a whole seemed to play into the siren part of the trend, featuring sleek draped looks, sharp cutouts, and right-angle accent lines. And while most of the looks did not offer any facial cloaking, Di Felice closed the show with a beautiful beige sheer gown and a matching gauzy veil covering the model’s head.  Then, the Internet let out a collective gasp upon seeing the Robert Wu show. A glamorous, artful collection, the opening look is a blend between a bride and a widow,  a sparkling look that lives somewhere between dreams and nightmares. Every look in this collection obscures the model’s eyes, either partially or fully. From wide rimmed dramatic hats  to gauzy veils  to playful masks and hairstyles , no model stepped on that runway with their head unadorned, or their view unobstructed.  Another gorgeously artful — and yet still veiled — collection was Rahul Mishra Fall 2024 Couture . While the headgear on most of these looks was more subdued than in previous examples, a few sculptural pieces created a screen-like effect between the models’ faces and the world in front of them, like the viral three-headed effect head piece gown  or the abstract, sculptural outlining gown , overlaid high above the model’s shoulders and head.    At the Balenciaga show, Demna included gigantic, lampshade-like hats  that seemed to channel the textures of outerwear. Like a puffer jacket, or a feathery coat, but in absurd hat form. These hats, often with fabric hanging off the brim, only leave the models’ chins and lips visible, if at all. The collection moves from the hats to a few looks that include butterfly masks , through which the models’ eyes are fully covered. This, plus a few shaggy haircuts and a couple of very thin dark bands worn like sunglasses , make up the Demna variant of covering the eyes. On the Schiaparelli runway, the cover-ups were more subtle, with tight translucent veils  tied around the models’ faces for some of the looks. The veils varied in color, from navy  to teal  to peach tones. The effect created by this styling choice is one of blurring the models’ faces, placing a barrier between them and the world.  And then the Marc Jacobs case. Although Ready-to-Wear and not Couture, his collection carried on the trend in an equally mystifying way. Perhaps his most playful collection in decades, the cartoonish feminine shapes were praised for their play on the stereotypes of traditional femininity  and the tradwife trend. All of the looks included colorful oversized eye-lid-shaped masks  with long dark lashes at the bottom, covering the eyes.  These collections come to us in a moment where political uncertainty fills the air. From the surprise left-wing win in France to the heated electoral climate in the United States, the zeitgeist is tense. Are designers telling us that in order to enjoy beauty and art and fashion we must cover our eyes and pretend like the outside world isn’t a mess?  Engaging with our creativity — and with arts that are deemed superficial by patriarchal paradigms, especially in moments of political unrest — can seem incompatible with being an engaged member of the culture. This incompatibility can lead us to believe that if we want to make or wear fashion, or listen to pop music, or whatever other superfluous act may be, then we must disengage from what is complex and complicated. But should we look away, hide our eyes, and pretend we do not see the problems? Or should we use our art to engage with them?  The answer probably lies somewhere in between, in the nuance, and not in the black-and-white approach.  The uncertainty germinated by political unrest has perhaps bled into all spheres, with growing concern that, in spaces like fashion, designers are reduced to puppets, losing their creative control. The critique that major houses are playing “musical chairs” with their designers, moving them from one house to the next but always keeping the same players in the game, is not really new  (I remember hearing about it back in 2019) but has been growing in frequency . When Alessandro Michele dropped a surprise Valentino collection for Resort 2025 , a common sentiment was that it looked too much like his era of Gucci. This is not to say that the clothes or the looks were bad, but for many, they weren’t different enough.  As a writer, I partly understand: how do you keep your own voice while aligning with the editorial history and goals of a specific institution, the one you happen to currently work for? Perhaps, feeling that they are losing themselves to the industry, designers want to look away. Subconsciously, the choice to create exaggerated headwear that prevents clear vision might be a reflection of this fear.  But while renowned designers opt for covering up, I suggest we at least ask them why — and do what we can to remove the veils we may have unconsciously opted to wear. 🌀 Laura Rocha-Rueda  is a Colombian fashion and fiction writer based in Brooklyn who holds a Creative Writing MFA from The New School. She is your local Swiftie and will gladly chat about anything glittery and soft, and about why dismissing pop culture as frivolous is misguided and sad.

For SS25, Wade takes Corporate America head-on. On the fashion side of TikTok, you’ll come across various “What I Wore to Work” videos of people who have surely never worked in an office, let alone any corporate environment. This is what’s known as the “office siren” or the corp-core aesthetic. The office siren is sexy, seductive, and probably working a glamorous job somewhere on the Lower East Side. And while Jane Wade’s office worker is a little sexy, too, she’s also humbly aware of her role in the grand capitalist scheme. In that, Jane Wade’s Spring 2025 “The Audit” collection picks apart the carrion of corporate America.  Wade tells a story of a company audit and corporate greed. Models walked into a sterile white warehouse, initials “JW” tattooed to their bodies, a clever mark of company property. A modern take on office wear — Wade’s collection features a refreshing spin on the dress shirt, work slack, and modest dress. Tops, skirts, and dresses were made of shreds of paper. ( “These are my shredded tax returns and my actual contracts from this season,” Wade joked with Vogue .) Jane Wade’s eponymously named label has always been about exploring themes of work, from white to blue-collar. For Wade, workwear is not just about adhering to professionalism, it’s about telling a story that’s adaptable through whomever wears it. The utility is avant-garde but still serves a purpose. The highlight of this show, for me, was the incorporation of tech. Headphones and hanging earbuds as accessories, chrome briefcases, and futuristic knee pads are reminders of the omnipresent emerging technology that can both advance and threaten all of our jobs. This is the sort of storytelling that I’ve always admired Wade for. In her young career, her collections have managed to balance the line between spirited, fresh, and impactful. As someone who has worked in various office settings, I pray for the day it is socially acceptable to wear crop tops and cargo pants to the office. This is the sort of workwear I want to see: full of personality and playfulness. Standouts of this collection are reworked button-ups and denims; a chainmail’d-and-crocheted-metal minidress; and playful pinstripes. This collection reinforced house fundamentals most brilliantly. Each look had its unique role, as if in a fully-produced play in a theater, throughout the show. Despite these abstract concepts, Wade has always had wearability in mind. And, in my dream office, Wade’s spring collection would be the uniform. 🌀 8.0 Niya Doyle is a forever East Coast-based writer, beauty buff, and cat lover.

While not exactly groundbreaking, Carolina Herrera Spring 2025 Ready-To-Wear makes the case for heirloom beauty. With a mostly black-and-white collection that moves from flat colors to embroidered and lace detailing to polka dots to houndstooth to pops of pink, red, cornflower blue, and yellow, Carolina Herrera Spring/Summer 2025 sticks to blossoming femininity. The giant roses as bustiers were only one way in which the hyperfeminine brand reinterpreted florals: bejeweled pieces with flower-shaped gems, floral lace, and prints with flowers of varying sizes were in store.  The collection featured a lot of interesting silhouettes that added sophistication that can be at risk of getting lost among the flowers. Ballooned sleeves and tailored, angular cut-outs made for a sleek and sexy collection. Pockets on floor-length dresses catered to the “ And it has pockets!” crowd. And even the clothes without florals came with giant flowers adorning models’ hair. Or with statement earrings.  A strapless black dress bejeweled with flowers of blue petals, green stems, and white centers, paired with matching earrings, stole the show. It evokes everything the Carolina Herrera brand speaks to: dazzling femininity, classy sophistication, and a certain level of playfulness.  Nevertheless, Wes Gordon decided to include several prom-dress-shaped gowns in the collection: very fitted at the top and A-lined towards the floor, with the models appearing wrapped in yellow or red tulle, decorated with tiny beads of a matching color. While not necessarily ugly, these additions took away from the potential chic factor of the collection. As part of Ready-To-Wear, perhaps they are conceptualized as exactly that — the prom dresses heiresses across major world capitals will purchase come springtime. These women, however, seem too young to be the daughters of the matriarchs the other clothes cater to. This collection carried some freshness that can be challenging for an established brand like Carolina Herrera. But while some pieces were refined and mature, others were too youthful. At this point, Carolina Herrera could be described as an heirloom brand. But “heirloom” could be synonymous with “grandma.” Lots of efforts were made to bring the brand to 2024, and, well — some missed the mark.  🌀 7.3 Laura Rocha-Rueda  is a Colombian fashion and fiction writer based in Brooklyn who holds a Creative Writing MFA from The New School. She is your local Swiftie and will gladly chat about anything glittery and soft, and about why dismissing pop culture as frivolous is misguided and sad.

“Memories of Joy” took the tasteful, easy allure that the brand has fostered all these years and doused it in celebration. 3.1 Phillip Lim rang in 20 years with a collection set on revering the past. Titled “Memories of Joy,” Lim used SS25 to turn around and look at how far he had come.  “Joy is where it all started for me. The joy of moving to NYC on a whim, the joy of crafting the first trouser and the crooning of elation from first wear,” he said in an Instagram post . “I have been reflecting upon these early memories of joy as of late, perhaps an innate push against the present, complicated world and my desire to find my way back.” When you really think about it, 3.1 Phillip Lim will always be tethered to its start, when Lim and Wen Zhou founded the brand at age 31. But namesake side, 3.1 has always known who it is and who it’s for. “The everyday hero,” to be exact, is how Lim describes his eternal muse. This hero was wholly present on Sunday evening, sensible in her choice of loose tailoring and comfortable sandals but uncompromising in her commitment to chicness.  Rather than assembling uniform looks, Lim paired together clashing styles: camo patched jorts and a delicate sheer lace appliqué blouse, a skirt made of dozens of rhinestone tassels and an oversized beige work shirt. The mélange of styles leant to the “nonlinear” and “fragmented” nature of memories that Lim wanted to convey. Ephemera was also ingested into the set design: massive, translucent, blurred panels that models of various ages snaked around.   Lim also mix-matched within individual pieces, setting acid wash denim, netting, and eyelash fringe against satins and chiffons. Movement, however, was not lost under heavier fabrics or oversized graphic tees.* Lim’s long-standing aversion to stiffness was reinforced by long strips of fabric and effortless draping. As models slipped around the corner of the panels, the remains of the garments wavered behind its hero for a moment before disappearing with her. This was best exemplified in Look 42 and the penultimate Look 50, two dramatic milky-white outfits. The latter was a near-spitting image of 3.1's SS07 collection, a palimpsest of a Phillip Lim throughout the ages — and a splendid way to end the show. “Memories of Joy” took the tasteful, easy allure that the brand has fostered all these years and doused it in celebration. Save a few amiss neons and rhinestone accents, it worked. Being consumer-forward has always been a priority, especially when Lim and Zhou were just starting out. Now, 20 years later, 3.1 can have a little fun and still find a way to be practical – and beautiful.  🌀 7.6 *The celebration was dampened only slightly days later by accusatory statements from Girls Don’t Cry founder VERDY, who felt that Lim’s SS25 graphic tees were more than just similar, but direct copies of VERDY's work, referring to Lim as “uncreative and lazy.” Similarities aside, it’s worth clarifying that Lim is anything but.  Sophia Scorziello  is a freelance writer from Connecticut who misses living in Los Angeles. Follow her on Twitter  for unsolicited takes and Spotify links.

" It’s cruel to compare a designer’s most recent work to what they produced 30 years ago, but it’s natural to feel nostalgic for a period — before I was even born — when the brand felt more balanced." Anna Sui is a designer who has consistently churned out reliable and brand-aligned collections since her debut in 1991. Last season, her New York Fashion Week show took place in the rare book room inside the East Village’s Strand Bookstore, where models donned grungy tweeds, knits, and sequins against the backdrop of aged hardcovers with gilded spines. This season, however, the brand opted to postpone their Spring/Summer show to later this fall, when their five new fragrances launch, inviting critics and customers to the New York City showroom in lieu of a traditional presentation. Andy Warhol’s early floral illustrations (think pre-Campbell’s soup can) were a main point of reference for Sui’s newest collection, with heavy emphasis on delicate floral motifs. This is a completely different art style than most are used to when thinking of the legendary pop artist, but it’s led to something that felt different, but not necessarily fresh, for the brand. Headscarves and candy-colored cat eye sunglasses make this collection look straight out of a Slim Aarons photograph. The Anna Sui women have ditched their autumn suedes and argyle knee-high socks, instead sporting terry cloth sundresses and pastel stockings. Tropical prints and stripes are layered beneath teal jacquard jackets and silk bombers. Cutesy collared shirts have matching cardigans and mini skirts. Patent leather kitten heels in rosy pink, butter yellow, and pure white have miniature flower bouquets affixed to bow details. A gray gingham sundress with a pilgrim collar is a trendy mix of the OG Sui grunge crossed with the inevitable takeover of sundresses come springtime. A staple of the brand are graphic logo t-shirts which have been layered beneath off-the-shoulder dresses and silk slips in this collection. Delicate tulle skirts are a great layering piece but not functional to wear on their own — unless you find yourself in the South of France (think nude beaches). Silk trousers and shirt sets are printed with vacation postcard classics like seashells, hibiscus flowers, and a large cursive “Florida,” which enters tacky territory. The print also appears in baby blue on bandeau tops, pleated skirts, and an open-front dress. It’s overwhelming, to say the least. Followed by more florals (which I would not consider tastefully delicate) and flower boutonnieres, a few looks are a bit of a mess, but the chaos is familiar. The brand’s traditional maximalist styling results in a Spring/Summer collection that fuses coastal grandpa (matching button-up short sleeve-and-short sets and straw fedoras) with his tween granddaughter (pink, gingham, ruffles, and even more pink).  Some pieces I adored were tailored capris with a green-and-black olive print, a classic white leather cropped trench, and a belted black-and-white t-shirt dress that made a floral wallpaper pattern really work. Anna Sui has never been afraid of prints, textures, or layering. In fact, it’s the brand’s DNA, and can be traced back to her ‘90s debut. However, Vogue Runway has started uploading catwalk archives from decades ago, and I recently found myself doom-scrolling through some of Anna Sui’s first collections, completely fawning over her earliest creations. I love that she repeats the same materials and silhouettes over the years, like sheer lace, oversized collars, puffy sleeves, and yes, excessive layering.  It’s cruel to compare a designer’s most recent work to what they produced 30 years ago, but it’s natural to feel nostalgic for a period — before I was even born — when the brand felt more balanced. A period when a knit bonnet, tank top, metallic jacket, mini skirt, and leg warmers in three different patterns were followed by a simple slip dress (that just so happened to be worn by Kate Moss. Like I said, different time period). Anna Sui is charming and a tad kitschy, yet still, a constant New York figure who continues to evolve without abandoning the essence of its origins.🌀 6.5 Jane Lewis is HALOSCOPE's Runway Editor based in New York City. She grew up on farms in Southern California but now she always  matches her shoes to her bag.