Fault Reviews: Yves Saint Laurent



Tournage YSL

Set against the beautiful backdrop of Paris in 1957, the film tells the heady story of Yves Saint Laurent, played by Pierre Niney, and his lover Pierre Bergé, played by Guillaume Gallienne. Together as both business partners, soul-mates and eventually Pierre taking the role of carer to the troubled and reckless Yves, the film delves into the personal and creative life of the young designer.

The imagery is as stunning as you can imagine, featuring the original YSL garden in Marrakech, Morocco and various evocative scenes across Paris.  Original couture pieces from the YSL archives feature throughout the film, with a cast decked-out in a film wardrobe to die for. The full effect of the movie, creates a rich and idealistic story of the making of an internationally acclaimed fashion brand and how a designers relationship with their models, staff, friends and the people surrounding him / her can make or break a career.

Yves Saint Laurent, is portrayed as a creative genius, a tortured artist and a revolutionary designer, with Pierre as the rock that held the entire show (and Yves life) together season after season. Although this story sometimes glosses over some of Yves’ life and fails to explore what happens after he and Pierre separated, it’s worth seeing for the beautiful scenery, the costumes, and a deeper understanding into one of the greatest designers of our time.

Directed by Jalil Lespert

With Pierre Niney de La Comédie-Française, Guillaume Gallienne de la Comédie-Française, Charlotte Le Bon, Laura Smet and Marie de Villepin

YVES SAINT LAURENT is released in cinemas across the UK on 21st March 2014





Part 2: Paris Fashion Week Roundup, AW14 Womenswear

Following on from PART 1 of our Paris Fashion Week roundup, here’s our review from some of our favourite fashion designers;  CélineBalmain, ACNE, Margiela, Rick Owens and more.






ACNE Studiosacne


Saint Laurentlaurent

At Céline and Balmain, animal prints were presented with a similar luxurious subtlety as at Givenchy. Céline’s Phoebe Philo worked the prints into a collection that was beautifully restrained, with a palette of black, grey, cream and camel, woven into which were a muted leopard print, hints of enlarged gingham and textiles like feathered wool and Astrakhan. Balmain’s collection was a much more clear reference to safari, with riffs on safari suits and camo colours, amidst abstracted zebra and leopard print. Zebra print also made an appearance at Acne Studios, in a collection that seemed to also draw on the safari influence, with a nod to Yves Saint Laurent’s famous collection in the Seventies. This retro inspiration was clear in the swirling print patterns, the candied colour palette and wide-legged trousers. This Seventies influence was as potent as ever in the actual Saint Laurent collection, with Hedi Slimane’s ongoing tribute to glam rock androgyny helped along by Alex Turner and Miles Kane sipping champagne in the front row. From the fur and sparkles, to the miniskirts and floppy hats, amidst prints of paisley and plaid, this was a veritable feast of retro style and it is testament to Slimane’s electric modernity and eye for youth that the references didn’t feel tired.


Vivienne Westwood westwood


Maison Martin Margiela margiela

Vivienne Westwood’s collection was a true celebration of her label, possessing much more impact than her relatively tame Red Label show in London the other week. This show exploded in colour and print, combining label signatures of silhouette and shape with a youthful, almost riotous energy. At Maison Martin Margiela, there was a similar sense of heritage and label hallmarks, but here these were in the treatment of tweed, merged with the silhouettes and tailoring upon which Margiela made its name. The result was an incredibly beautiful and subtle collection that was at once feminine and finely detailed, yet effortless and utterly wearable.


Rick Owensrick


Gareth Pughgarethpugh

At the opposite end of the spectrum to the candy colours, decorative detailing and concept prints of labels like Chanel and Kenzo, some collections offered the avant-garde minimalism that has been central to Paris since the arrival of the Japanese designers to the city in the 1980s. Rick Owens, who has made this kind of punky minimalism a hallmark all of his own, delivered looks in total blocks of either black, oxblood or grey. The shapes were oversized and, again, biomorphic, with curvilinear sleeves and shell-like drapery. Pleats and variations of textile allowed for a considered experimentation, fully expressing Owens’ unique and intelligent eye.  Gareth Pugh’s collection was in a vein that was at once similar, and entirely different. Whilst minimalist in terms of being rendered entirely in white and silver, this collection was extravagant in silhouette and cut, with Pugh’s tailoring of a breathtaking standard. Consistently eye-catching, he continues to push his label forward with intricate detailing. Rei Kawakubo’s collection for Comme des Garçons was again a pushing of the boundaries of fashion, in line with her desire to make ‘objects of the body’ as declared last season. The result was in biomorphic, tubular knits that hung like literal sculptures , protruding from the body.


Comme des Garçonscomme

In terms of the influence of the Paris shows, it will surely be the clever treatment of colour and print that filters into the mainstream; the broken animal prints, the neon inserts, the ongoing block-colouring filtered through pleats and trouser-suits. With your local supermarket and McDonald’s now firmly absorbed into the fashion domain, perhaps the industry’s influence will be more pervasive than ever.

Words by Will Ballantyne-Reid

Part 1: Paris Fashion Week Roundup, AW14 Womenswear

The Paris collections of  A/W 14 veered between a beautiful aesthetic restraint and a highly ornamental treatment of textile. When designers pared it back, they hit upon a class, luxury and elegance that not only reminded the world of the French standard for ultimate quality and design, but provided a respite to the more brazen bling of Milan. Next to Karl Lagerfeld’s post-modern riff on supermarket-chic, with a brilliant supermodel-populated suburbia at Chanel, Jeremy Scott’s brash, comic take on McDonald’s uniforms for Moschino suddenly seemed a bit under-developed.






There was a decidedly ‘street’ element to the looks on show at Chanel, with the appearance of crop-tops, leggings (complete with ladders and holes in them), puffa-tweeds and trainers. Lagerfeld never allows the show concept to overwhelm the clothes, and the most the supermarket theme really infiltrated the collection was in brilliant bouclé-bound shopping baskets and, perhaps, the food packaging candy-colours of some of the prints. This intelligent consideration of colour was key to the Paris collections, such as at Kenzo, where prints were measured and brilliantly composed, in jewel tones and off-kilter neon shades (ochre and burnt orange.) Like Lagerfeld, the designers balanced proportions and shapes to balance this treatment of print, with cinched waists and unusually cropped hemlines acting as counter-weights for bold sleeves and volume in skirts and trousers. Givenchy also tread this balance, with Riccardo Tisci breaking down animal prints and loud colour across refined geometric detailing, from obi belts and pockets to inserts and cuffs. In this careful and measured treatment of materials like leopard print and fur, Tisci epitomised a very French approach to luxury; effortless, elegant, intelligent.


Stella McCartneystella



Stella McCartney also used this approach, with knitwear and comfortable, easy silhouettes providing a vehicle for experimental, even ornamental, colour and print detailing. By blocking the colour out, McCartney was able to maintain her trademark balance of masculine tailoring and feminine aesthetic, layering prints and textiles without losing the utility so central to her label. Under Alexander Wang’s guidance, Balenciaga used colour in much the same way as at Givenchy, with bold geometric inserts and thick bands of colour on cuffs, collars and waistbands. Wang’s Balenciaga is a consistently brilliant, aligning the house’s tradition of chic tailoring and experiment, with a modern, almost underground energy. As the collection unfolded there was an almost biomorphic quality to the silhouettes on display, rendered in heavy leather, knit and silk. At Issey Miyake and Yohji Yamamoto, these biomorphic silhouettes also prevailed, with Miyake’s pleats ballooning in curvilinear shapes with beautiful drapery and scalloped detailing. Colour was bold but relatively restrained, either in colour-blocking or in geometric, mosaic prints. At Yamamoto, colour was highly decorative, exploding in intricately-detailed drawn prints or in fine detailing and trim.


Issey Miyake


Yohji Yamamoto



Words by Will Ballantyne-Reid

LFW Feb ’14: Day 4 AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.


 Roksanda Ilincic


Is it safe to assume that come AW14 the colour Royal blue is going to be EVERYWHERE? Here it cropped up again in Roksanda Ilincic’s new collection. The pieces looked strongly influenced by modern art with staggered hemlines, interesting, angular draping, with strong use of colour and blocks of colour with sheer panels plus angular pattern repeating throughout. Stripes made a subtle appearance and could be seen on the edges of hems, around collars and and on the larger patterns of the clothing. Thick woolen, luxurious-looking pieces made way to a confetti dress made up of shards of colour, this then continued more subtly onto the other pieces that followed in the collection. Cute flat shoes and ankle socks reigned supreme, as did gorgeous chunky gold belts leaving us with a vision of the thinking woman’s wardrobe.

Words by Rachel Holland




The Osman A/W14 collection was a beautiful collision of the Middle Eastern- Moorish prints, Byzantine blue, dusty Moroccan pink- with the surrealism of Europe in the 1920s. These influences played off each other beautifully, with sleek, minimalist silhouettes allowing for intricately ornamental embellishment, surreal embroidery, and exotic details such as sashes. The palette was bold without being too much, with shades that felt well-researched and prints that seemed authentic. It felt that this collection really took a journey and paid tribute to the nuances and intricacies of another culture. Yousefzada laid out a new shape, with asymmetrical hemlines and skinny cropped trousers that seemed a nod to Raf Simons at Dior. The surreal details – bold eyes and manicured hands – did not impose, instead adding a lightness and playful quality to what was otherwise a very heavy, luxe look.  From full evening dresses to separates and accessories, this is a collection that will translate well both in print and on the shop floor. On the runway, the richness of colour and print made a striking impact, but the finer details of the texture and elegant tailoring really took this collection to another level.

Words by Will Ballantyne-Reid


Marios Schwab


In what felt like a much more commercial collection for Schwab, which felt less focused on the red carpet and more about bringing the label into the closets of modern women, an edge of cool could be seen throughout. With a play on hemlines, structure and with most of the hemlines super-short, this was a focused collection from someone who knows their target audience well. Leather jackets, bomber jackets and capes were slung over pretty dresses or leather trousers. Sheer layers with elegant shapes and even trains featured in the catwalk show, there’s something in this collection that would appeal to everyone and that, lies in it’s success.

Words by Rachel Holland




Erdem’s collection took on elements of the 1960’s with references of fine couture and heritage techniques woven into delicate fabric, with the designers signature flowers and blooms. With many of the pieces having a purposely unfinished feel. The attention to detail, as always expected with this label, was exquisite. Gold, black and cream brocade sat alongside wet-look coats and jackets for an interesting contrast. Some coats and dresses were unexpectedly slashed at the elbows, sheer panels popped up at the neck and the focus on embroidery and embellishment could be seen in each piece. Far from being stuffy, this is a modern Erdem glimpsing at the past while striding forcefully into the future.

Words by Rachel Holland


David Koma


David Koma’s show was a slick affair, with each piece being well thought out, edited back and refined so that the brand’s message was completely clear. That the Koma woman means business. Open-toed boots or shoes clad every model, the boots of note being the knee-highs – giving the outfits a feeling of restriction yet freedom. The first looks that entered the catwalk were a rich purple in a complete body colour-block – a bold statement. This led to grey to white to black and finally to pops of royal blue. Caging detail and harnessing revealed hints of flesh, looking decidedly stern, yet, the full skirts were more of a feminine, pretty detail. Leather and ‘angular lace’ however were far from pretty, creating a bold, strong statement that despite the dominatrix overtones, look surprisingly wearable.

Words by Rachel Holland


Burberry Prorsum


Burberry was a painterly affair this season with botanical prints on bags, scarves and jackets with more than a passing nod to the artists muse or the 70’s bohemian, which is an unusual spin for AW14 but one that we can thankfully embrace. The longer skirt lengths, the cinched waist and the easy, draped shawls, blankets and sheepskin coats made for a high-class aristocratic mood, but one where the heroine runs away with a penniless poet, painter or musician. The monogrammed scarves, the caped trench and the hand painted bags will no doubt sell out fast as the must-have buys for the new season. The pretty delicate dresses and the wearable, statement coats will undoubtably be do well amongst the labels core fans. The Burberry powerhouse is showing no signs of slowing down, so it was fun to see Bailey having a lighter mood this season and looking to the bohemian for his inspiration, we applaud it.

Words by Rachel Holland


Peter Pilotto


This was a pleasant surprise from Peter Pilotto this season after previous seasons displaying a more restricted and refined aesthetic. There was colour and print and lots of it, having varying levels of success in some pieces more than others. Literally every piece was unexpected and just when you thought that you had the collection ‘fixed’ in your head, a new equally dazzling look would emerge down the catwalk. An alpine print was used to great effect in both a dress and a padded suit, the sporty, patterned coats felt extremely ‘now’, whilst the colourful patterned detail picked up where Mary Kantranzou has left off and took us in a new direction. I loved the slouchy layering of contrasting patterned knits, more so than the earlier pieces, I can imagine the effortless comfort of wearing these looks and yet looking totally wild and eclectic at the same time. Despite reading conflicting reviews elsewehere, this collection gets a big thumbs up from me.

Words by Rachel Holland




Giles is the designer who we can rely on to represent the cool British girls. This season he focused on playfulness and anarchy. The show was set in a dark car park in the East End of London to set the mood, with strobing lighting to add to the overall rebellious ‘Giles’ vibe. Punky looking girls strode the catwalk, with Brit model, Cara, snapping selfies of herself and the front row, creating an iconic catwalk moment. The theme was rebellion, the clothes either tropical bright, lime tartan or monochrome. Hummingbirds were the motif of the collection, trickling out towards the end as bugs crawling the edges of cocktail dresses. It did, as a whole feel a bit haphazard, however there were coveteable pieces in there, namely the capes, the long straight dresses, the leather items and the shorter dresses. The accessories will be perfect for wearability alone – long, leather gloves, huge scarves and punked-up boots will add an instant update to any winter wardrobe. Giles’ previous seasons are hard to follow, however we have no doubt that the best is yet to come.

Words by Rachel Holland




Showing a wicked sense of humour, Tom Ford took a cultural reference and spun it on it’s head with his upgraded version of the ‘Tom Ford 61’. A knockoff top that’s been doing the rounds in sub-culture – Ford’s now turned into a glittery party dress. The rest of the collection felt 60’s and a bit rock n roll with a sombre mood. Monochrome featured heavily throughout the collection, with splashes of bold red, copper and leopard print. There was a big play on textures with sequins, leather, velvet and wool. Of note were the long velvet dresses, so casual and wearable, yet so high-end at the same time. They could easily be dressed up for the red carpet with some striking jewels or down with a pair of rugged biker boots.

Ford proves season after season that’s he’s a master of the catwalk. With a huge celebrity turnout, plus using big name models such as Karen Elson, Liberty Ross, Stella Tennant and Georgia Jagger during his show, his pulling power is clear to see. And that’s the reason why we keep coming back, because we just can’t get enough Tom Ford in our lives.

Words by Rachel Holland




In the last year, KTZ has reached a whole new level of iconic brand identity. With the likes of Rihanna and A$AP ROCKY on board, the label has swiftly made an imprint upon the mainstream with its monochrome palette, bold prints and edgy proportions. In this vein, it can be easy to assume you’ll know what a KTZ show will look like before it comes down the runway. However the label somehow continues to challenge its own aesthetic, finding a new innovation whilst satisfying its cult following. This season the look was a sort of Medieval-Bionic-hybrid, with tabards and tunics in the form of oversized and embellished shirts and dresses, worn with leggings and trousers in beautifully manipulated silk and leather. Ribbed leather leggings had the look of machine parts, whilst jackets and tunic had a heavy luxury, weighted with geometric jewel patterns and studs. For their menswear presentation this season, the label sent models down the runway with snow-shrouded faces and this Arctic influence carried over; from the puffa jackets to the Doctor Zhivago hoods in pale silk lace. To put it simply, this was yet another triumph for a label that is already taking the world by storm. Who knows where they will be by next season?

Words by Will Ballantyne-Reid



LFW Day 4: Ryan Lo AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.



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Photography: Jean-Luc Brouard for FAULT Magazine

All Images are subject to  copyright

LFW Feb ’14: Day 1 AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.

Bora Aksu


The Bora Aksu show opened with a blast of Balkan music, pitching a fashion statement that was somewhat at odds with the first set of looks to come down the runway; muted looks in a restrained palette and subtle, sheer fabrics. The influences seemed to range from 17th century Netherlandish portraits to nuns habits, reworked with quasi-Victorian detailing, Dystopian silhouettes and sculptural knits. The collection took a few twists and turns, first into a darker palette of navy blue and plum and then into a more surprising neon yellow. Through the collage of historical shout-outs, there seemed to run an unexpected (but highly successful) hint of sportswear, with perforated fabrics, clean lines and patent fabrics. Whilst the erratic colour palette seemed designed to give the collection a modern energy, it was actually this sportswear influence that enriched the looks, connecting the past to the present. Aksu’s treatment of knitwear was stellar, with a lightness that allowed the clothes to move beautifully. 3D knits were striking and semi-futuristic, whilst contrasting textures gave the clothes a subtle impact beyond the bold shapes and proportions. Aksu has long been a master of interweaving references and cultures, matching this with his eye for striking design and innovative detail. However, this season the leaps in palette were too great, resulting in a show that felt like three different collections presented as one.


Fyodor Golan


For S/S14, Fyodor Golan put out a collection that was elegantly simple; a presentation in summer shades and sophisticated shapes that spoke of their creative aesthetic without losing the clarity of their creations. For AW14, it was a different story; the palette was a riot of hot pink and silver, with busy silhouettes and draped fabric in a riot of colourful metals and wet-look fabric.

There were a lot of beautiful elements; the play of texture in thick wool and fur, the exaggerated proportions of jackets with balloon sleeves, the use of sheer fabric. The whole collection – created to be a bold statement that displayed the designers prowess as innovators succeeded in grabbing our attention. Occasionally the iridescent fabric looked overwhelming in parts and sometimes the craft at hand was lost within the high-shine of the fabric. Closer inspection revealed beautiful pleating and careful manipulation of the fabric, with the wet-look textiles, hanging in blocks of single colour.  When the designers briefly experimented with sheer printed chiffon, paired over metallic leggings, it possessed a subtlety that made for a much more focused statement of the designers’ talents.


J. JS Lee


J. JS Lee was inspired by camping for her collection this season, with the track-mark prints to prove it. We are used to seeing stark, wearable minimalism from this designer and this season was no different. Staying true to the roots of the label, we saw simple shapes in colour-blocks of royal blue, emerald green, brown, navy and cream. There was some texture in there in the form of laser cutting, tartan prints and chunky roll-necks. Overall the collection was a commercial success which is becoming more and more important for designers every season – with less focus on risk-taking and more on the lucrative attracting buyers. J JS Lee proved here the importance of knowing your brand and customers well and sticking to it.




Daks AW14 show was a celebration of the label’s 120th anniversary and, with this in mind, Filippo Scuffi brought out all of the house’s most iconic trademarks. The house check was rendered in wool, sequins, fur and silk, and on everything from lapels and sleeves, to baker-boy hats and ballgowns. Riffs on English staples such as the trench coat and the cable knit were a nice idea but fell a bit flat, appearing  either too obvious or too costume. The show opened with a series of strong looks in black, camel and deep red, playing with Daks’ heritage yet managing to bridge minimalist shapes and silhouettes with sumptuous texture. Looks in leather and wool were both luxe and wearable, due in part to Scuffi’s eye for subtle detailing; piping, lining and fringe in fur and wool print. However, as the collection progressed into eveningwear it lost this subtlety and, as a result, a lot of its sophistication. Attempts to create the print in metallic strips were misplaced, whilst an evening dress with trench coat buckles was just too contrived. Scuffi’s (and perhaps Daks’) forte is daywear; from high-waisted pencil skirts and skinny silk trousers to the playfully-crafted knits and pleated leather daydresses. All in all, Scuffi’s tribute to Daks’ past treated the label hallmarks with enough innovation that one could get a sense of the brand’s future. Here’s to another 120 years!


Christopher Raeburn


At the forefront of Christopher Raeburn’s AW14 was a very British sense of utility. Not a tired tribute to the trench coat, but a careful and meticulously-detailed declaration of English practicality. Raeburn focussed on coats and jackets in muted prints and a refined but bold colour palette, with over-sized pockets and beautiful textile choice ranging from metallic to sheepskin. Details were rendered with a graphic emphasis, bringing to mind the chic (and incredibly popular) luxe minimalism of Celine. In the form of colour highlights or textile inserts, statement cuffs and collars meant each look was beautifully balanced, with unusually cropped hemlines on skirts and trouser legs creating new silhouettes that were eye-catching without being at all try-hard. The cutesy polar bear print detail could have been left on the studio floor but it was too minimalist to detract from the collection’s clean and refined aesthetic.


Jean-Pierre Braganza


Jean-Pierre Braganza’s AW14 collection was a triumph- not only of the individual pieces shown, but as an overall presentation. It progressed and unfolded beautifully, moving cohesively through a stunning series of constellation prints and gun-metal metallic shades, before climaxing with the unexpected but spot-on introduction of Versailles-era prints in icy blues. Braganza consistently merges effortless power with a modern romanticism, creating clothes with clean lines and bold silhouettes in shimmering silks and prints. Slouchy jumpers are transformed into modern evening dresses, with glamourous trains at the back and leather detailing. Placing power in proportions, shoulders and sleeves were maximised, allowing for an easy utility with skinny trousers and mini-skirts. This is a collection with a clear client and lifestyle attached; a woman who is cool, in control and exquisitely creative.


Mark Fast


Mark Fast sent out an array of his trademark bright knitwear under strong fluorescent lighting this season. From slouchy coats to a cool belted suit, these pieces all featured a cinched waist and a draped aesthetic. Fast created his spin on the oversized trend which we’ve seen everywhere this season to great effect. The Mark Fast girl this season is street-smart, effortlessly cool, collected and with a hint of quirkiness and play. The collection manages to be both commercially viable and catwalk-ready simultaneously, which is no mean feat in this era of fashion.


Eudon Choi


Set to the screams and black and white images of Beatles fans, the 60’s inspired catwalk show of Eudon Choi was a step away from his previous minimalism into new depths of layering. The models sported bed hair, black 60’s style flicks and nonchalant struts to the music. The clothes nodded towards his previous aesthetic, yet contained print, texture and some sharp tailoring. We loved the shots of royal blue interwoven amongst the texture of the clothes, the ruffled collars, the tassled shoes and the oversized coats. Eudon Choi proves himself yet again as  a designer that’s quickly rising through the ranks into a much larger label and we’d like to see more of his trademark minimalism and where he goes with his look in the next season.


Todd Lynn


Todd Lynn’s AW14 presentation was ultra-refined; straying little from an all-black palette and possessing a striking sharpness of silhouette- out at the shoulders and in at the waist. When he did venture out, it was only to add a pop of green fur that marked the shift from black to charcoal grey. This restraint has been absent in many of the shows this season; with some designers struggling to set their own boundaries, creating presentations that seem too wide-ranging to be a cohesive design statement. Lynn realises that there is a power in such a fixed aesthetic and as a result, his collection had a real punch to it. Every piece was high-octane glamour, but also wearable. In fact, not only wearable but transferrable; from the silk-detailed blazers and trousers, to the metallic cocktail dresses, these pieces would work on-the-go, as much as they would at a party or event. Given Lynn’s ability to successfully merge his own deeply personal creative aesthetic with the needs of a living, breathing client, it is no time before his label expands out. He most certainly has the design integrity to pull it off.


Words by Will Ballantyne-Reid

NYFW AW14 Roundup – Part 5 (Marc Jacobs, Diesel Black Gold, Rodarte, Vera Wang)

With NYFW now finished, we’ve edited and rounded up FAULT‘s fashion shows of note from the NYFW Fall/Winter (or AW ’14 to us) ’14 collections. This is our final roundup in a series of posts on our favourite NYFW AW 14 colelctions. To read the rest, just click the links to each part the bottom of this post:

Marc by Marc Jacobs:


Marc Jacobs’ girl has got something to say this season and she’s saying it in high decimals. 90’s girl power was injected with new life under the designing force of Katie Hillier and Luella Bartley to create a loud and proud model army. The looks were uniform in parts, wild and festooned with 90’s referencing in others. Colours either stuck to the black / white / grey / red / khaki colour palette or were multi-coloured with splashes of royal blue. We’ve seen tartan everywhere this season and there were hints here or there throughout of this popular print. With varying shapes and silhouettes running through the collection, the anchoring aspects of the designs were the sheer, brazened, statement of the pieces. Plus all of the outfits were paired with either comfy looking high-tops or trainers. It looks as if the girls had great fun creating this collection and it shows, girl power is alive and she’s wearing high-tops.


Diesel Black Gold:


I’m loathe to use the words ‘edgy’, but when Diesel Black Gold entered the runway, well, my first thoughts were ‘edgy’ and ‘futuristic’. The commercial aspect of this collection also means that it’s extremely wearable, a plus when your lusting after the new season pieces from the edge of the catwalk. Silver and mosaic reflective panelling featured heavily throughout the show, with reflective material and high-shine, luxe pieces. Black, silver and white were the focal colours and this reserved set of tones served the collection well. It’s all a bit spaceman-esque with a good dose of rock n’ roll thrown in for good measure and the looks translate straight off the runway into real life with ease.




I have to admit, that when I first saw the Rodarte collection hit the runway, I was confused, and yet then I saw the sparkle; I understood. The ladylike looks that sauntered down the runway had an air of innocent femininity. I noted a 70’s influence within the sheer, drapey dresses, the crochet and the wide-leg trouser suits. All mixed together, it was a visual feast. The glittery coats and jackets got our full attention as a new season essential item. The glitter was mixed into outfits in the form of a jaunty beret, a frilled skirt and top or sparkly socks. The aesthetic was pure, frothy ‘girl’ but with elements that made it feel womanly and grown up. On reflection, the sparkling coats made the collection and we would have loved to have seen more of this worked into all of the looks, I guarantee the coats will be the most memorable piece of this show.


Vera Wang:


Vera Wang turned to the dark side this season and it was a raging success, This hardly ever happens, but there was NOT ONE piece in this collection that I didn’t like in the whole show. Literally every piece was a must have for me. Vera really knocked it out of the park with this collection. Dark, dreamy, grungy and gothic are some of the words that sprung to mind when seeing the models for the first time. The outfits were well thought out, each one balanced perfectly. With oversized knitwear, leather, tartan and sheer fabric with subtle prints worn alone or mixed together, the effect was streamlined and concise. we thoroughly approve.

Keep updated here for more of our NYFW Fall collection updates from the Editors at FAULT Magazine.

Stay updated during LFW via twitter @FAULT Magazine @RachelvHolland



Part 1

Part 2

Part 3

Part 4

Part 5